Á köldum klaka

I saw Cold Fever when it was first released in the U.S. and have been (unsuccessfully so far) looking for it for about 5 years to see it again.

Some of the other comments have pointed to the way the Japanese and Icelandic elements--of folklore and spirituality, principally--weave together. I have always thought it was a beautiful homage to Kurosawa and perhaps other Japanese filmmakers, not just in the plot (which others have correctly seen as a "road movie") but in the whole pacing and look of the film--the colors, the composition of scenes, the attention to the characters. It's really too bad more people haven't seen it.

Hirata's enlightenment through his contacts with other characters who may be real, delusional (he is, in fact, fevered), or actual ghosts or spirits is compelling and thought-provoking for the viewer, who must also question what is "real," as well as what it means.

Cold Fever is one of those rare films where the hero is on a serious and deeply spiritual quest, yet the drama and the philosophy never overshadows the humor. Within the first 15 minutes of the film's depiction of Hirata's trip through Iceland, he is seen standing in the back of a (very large) truck, riding into Reykjavik with numerous other men - all of which are singing (beautifully) in deep baritone voices, the entire way home. One of the men on the truck turns to Hirata and says:

"How do you like Iceland?"

"Very strange country." Hirata replies, and the actor's expression and tone of voice made it a perfect bit of foreshadowing for everything that lies ahead.

This is a story about a man's journey across Iceland to fulfill a family obligation. His parents drowned in a mountain river, and Hirata must go there to free their spirits from the place. However, while the weight of family obligation is what gets him started, and is the goal that keeps him going - the journey, with it's many colorful characters and strange adventures (many of which seem to be born of either luck or a very powerful spiritual guardian seeing this man to his final destination) are what affect and change the man who is on this journey. Yet, despite it's fantastical quality, the film never seems to loose it's suspension of disbelief. In other words, I found myself in awe of the adventure without becoming annoyed by the impossibility of it.

My only complaint would be the number of times Hirata decides to just walk away from a cab or a broken down car. 90% of the movie is filmed in Iceland, in the middle of winter, and the reality of walking around in a business suit (with a suitcase, briefcase, and poor walking shoes) wasn't (in my opinion) properly displayed. Anyone who has experienced sheer white snow-blind cold depicted in this movie would be tapping their fingers, wondering why this man isn't dead from exposure.

However, I must stress that my single complain is actually a minor one, because it actually enhances the mystical and magical quality of this film. Like I said, Hirata's comment ("Very strange country") is a wonderful bit of foreshadowing.

Highly recommended.

This is really a wonderful film! I might be a little influenced by the fact that I've been to Iceland twice and I loved it (and still do, and pretty surely there's going to be a third time), but I really did feel this movie. The storyline is quite simple and has been well described by other reviewers, so straight to what this movie contains.

Well, anybody who's been to Iceland will realize immediately the high grade of realism, both in the landscapes and in the people the main man meets on his way, their attitudes, mentality, way of talking and all the rest. Icelanders really ARE the way you see them in this movie! Also the atmosphere of the country in the winter is perfect, deeply charming in its desolation. But whats gets the most in this film is the humanity of the various characters.

The main man is a likable guy, a little stiff in his behaving with the rest of the world, but that might be part of the Japanese culture as far as I know. Completely unlikable the two Americans, who are indeed negative characters, while I loved the old man who befriends the protagonist in the last part of the movie. The deepest humanity is to be found in him.

This is a movie that will get stuck into your mind for a very long time, don't miss it!

This film is indeed a beautiful film showing Iceland's many attractions as the previous reviewer mentioned, but it also draws very interesting parallels between the native beliefs of Icelanders, which in fact are quite similar to what prevailed across Europe before Christianity came(Iceland was settled by Vikings and was among the last places Europeans held to their pagan religion), and the Shinto practices in Japan. One accompanies the main character, a shallow, immature corporate executive from his comfortable Tokyo life to Iceland: where layer by layer he is stripped of comfort, certainty, even rationality, until he is brought to a place where he realizes a simple and profound humanity.

This film is funny, the cinematography is amazing, and it is spiritually enriching. How many films can you say all that about?

Hirata, a japanese businessman, is forced to visit Iceland instead of Hawaii based on family matters.

At several occations I found this film very amusing and charming, especially Hirata and the strange icelandic people that he meets, asking; "How do you like Iceland ?" - As Hirata is tricked into buying a deep-frozen car, he uses this to travel across Iceland. The radio play terrible folk music, but can't be turned off.. And when he picks up two american hitchers Lili Taylor and Fisher Stevens, naturally the music drives them mad.. Hence the exclaim: "It's an icelandic torture chamber"...Great! With Masatoshi Nagase from "Mystery Train" as Hirata, thoughts go to Jim Jarmusch though mostly for the directing of the film.. A great, cold, atmospheric vision, strange and beautiful.