Das Glück kommt morgen

The Swedish film Under solen was shown in the U.S. with the title Under the Sun (1998). It was directed by Colin Nutley. The film is set in rural Sweden in 1956.

Rolf Lassgård plays Olof, a gentle 40-year-old farmer who has lived alone since his mother's death. The only way he can think of to meet a woman is to put an ad for a housekeeper in a newspaper. A woman answers the ad, and eventually comes to the farm. Helena Bergström plays the beautiful Ellen Lind, who has never been on a farm, and would seem to be an unlikely candidate for the job. However, for her own reasons, she takes the position and appears to do it well.

Certain important facts become clear early in the movie. Olof isn't stupid, but he can't read. That's never explained. Were there truly people in rural Sweden at the time who hadn't been taught to read? Possibly Olof had gone to school, but was dyslexic.

Olof's inability to read is a key plot element, because this disability allows his friend Erik to take advantage of Olof's trusting nature. Erik--played by Johan Widerberg--has worked on a cruise ship and is far more worldly than Olof. I didn't think Widerberg carried off the tricky job of being Olof's trusted friend. He portrayed Erik as obviously devious and scheming, and, in reality, I think Olof would have seen through this supposed friendship.

Naturally, the plot produces an inevitable triangle, although not in the obvious way one would expect. That's what makes the movie interesting.

Some points worth noting: Gunilla Röör plays the newspaper receptionist who helps Olof with the ad. She's an interesting actor, and I wish she had been given more than just this cameo role at the beginning of the film.

"Under the sun" sounds like a French or Italian movie--there's not that much sunshine in Sweden. However, the title refers to the Biblical quotation, "There is nothing new under the sun."

Every so often, director Nutley cuts away to a fighter jet performing maneuvers in the sky above the farm. We would expect a bird, not a fighter jet. (Once, it is a bird, but only once.) There's an interesting thread on IMDb about the symbolism of the fighter jet.

The musical score is beautiful, but the music is Celtic, not Swedish. There are some similarities between Celtic and Swedish music, but why not use Swedish music?

We saw this film on VHS (believe it or not), although I think it's available on DVD. It would work somewhat better on a large screen, because of the beauty of the sky and the countryside.

It's an unusual movie, and possibly not for everyone, but I enjoyed it and recommend it.

This film touched my heart. Set in rural Sweden in the mid '50s and beautifully telling the tale of shy, reluctant love, the jealousy between friends and the claustrophobic agony of illiteracy, the film leaves you with the hope that just sometimes the innocent might prevail over the cunning. As a bonus, on top of the psychological subtlety that Nutley handles so well, you are also treated to the beauty of a landscape still remembered and missed.

Nutley elegantly suggests outcomes of actions without overstating it, like when he lets one of his characters mention that he signed on as a crew member of Andrea Doria – which went under in 1956, the year described in the film.

Paradoxically, no Swedish director has ever succeeded in describing the soul of the Swedish people or painting the beauty of the Swedish countryside as brilliantly – or lovingly, for that matter - as Colin Nutley has.

We loved this film. In a time of fast action, surprise, and worst-case scenarios, this is a human drama about living, love, relationship, and truth. The cinematography is stunning. Warm, golden hues of a Swedish summer ... and a reminder of life outside of our current era of technology and speed.

A story of two people falling in love for who they are ... not titles. Many visual and cinematographic metaphors and allusions.

A beautiful and touching film.

This was a wonderful movie about love, trust and self-discovery. The acting was first rate, and the photography was beautiful. It is a very sensitive portrayal of the very human need for love and acceptance, yet it is never heavy. The story moves along very well. The characters and plot are believable. I highly recommend it!

H.E. Bates' story `The Little Farm' on which `Under Solen' is based, was screened in a shortened version way back in the early 70s by Granada TV. The fact that this is not exactly one of his better known stories made it all the more surprising when it appeared as `Under Solen' in a full-length film miraculously transported to rural Sweden in the 1950s, and directed by a Brit…….. The result is charming, to say the least.

Olof, now over 40, decides he and his ramshackle farm need a young woman round the place, and so a very beautiful thirty-something Ellen walks into his life in answer to an advertisement for a housewife, much to the chagrin and scepticism of Erik, Olof's best friend. Good interpretations, though one might surmise Johan Widerberg tended to overplay his part at times; Rolf Lassgård and Helena Bergström gave pleasing performances. The photography is beautiful: all that lovely summer countryside somewhere in rural Sweden comes across very well, including heavy thunderstorms dripping through the roof of the old barn showering the happy couple's new-found passion. Wonderful to see one of those original Saabs which Erik Carlsson drove so successfully to so many victories in car rallies back in the late 50s! As well as a magnificent old bus. I could not quite make out if everyone was still driving on the left, though most certainly Olof's and Erik's cars were for driving on the right. Anybody know in which year Sweden changed from driving on the left to driving on the right, please?

My only quibble is Paddy Moloney's Celtic music seemd rather out of place in the middle of Swedish countryside. I mean, there is no lacking of indigenous folk and rural music from `Lockrop & Vallåtar' or Järna Musik och Dansfestival, Sommar-Gränna Blue Grass and Old Time, or from people like Richard Näslin and Lasse Sörlin, for example.

Nicely paced the film moves deftly from scene to scene without jarring any of the senses, with the result that this film is indeed pleasant viewing.