IMDb-BEWERTUNG
7,5/10
12.216
IHRE BEWERTUNG
Zwei Brüder müssen sich mit wechselnden Rollen und einer veränderten Familiendynamik auseinandersetzen, als der eine in den Krieg nach Afghanistan geschickt wird.Zwei Brüder müssen sich mit wechselnden Rollen und einer veränderten Familiendynamik auseinandersetzen, als der eine in den Krieg nach Afghanistan geschickt wird.Zwei Brüder müssen sich mit wechselnden Rollen und einer veränderten Familiendynamik auseinandersetzen, als der eine in den Krieg nach Afghanistan geschickt wird.
- Regie
- Drehbuch
- Hauptbesetzung
- Auszeichnungen
- 13 Gewinne & 21 Nominierungen insgesamt
Rebecca Løgstrup
- Camilla
- (as Rebecca Løgstrup Soltau)
Waleed Elgadi
- Samial-Tariq, Afghanistan
- (as William El-Gardi)
Empfohlene Bewertungen
The movie is filmed mostly with hand held camera, and the technical quality is not the best. I am normally not a fan of these so called "Dogme" movies, but it gives the opportunity to tell a story with a small budget and without having to waste time on special effects and so on. And what a movie. The actors play so intense and fascinatingly well, that I often sat on the edge of the seat, had "goose bumps"(gaasehud), wept like whipped(graed som pisket). The cutting is also very special and interesting. For instance a scene, where representatives of the military arrives to tell Sarah, that her husband is missing, it is cut right before they tell her the bad news. It gives a good effect. I would also like to welcome Connie Nielsen to the staff of fantastic Danish actors(her first danish movie) and will look forward to possibly/eventually watch/experience her great magic i a Danish movie again. I must write her a fan letter(my first).
"Brothers (Brødre)" is a Danish "Coming Home" crossed with "Deer Hunter" and the novels of Tim O'Brien with the added frisson of Cain vs. Abel, as updated to the war on terrorism in Afghanistan.
While I can understand how this is a new experience for Danes, it could have more impact for someone who has never seen a post-Viet Nam War movie. Otherwise it's like a fairly predictable cable TV movie about post traumatic stress syndrome on a channel that allows four letter words, including as has been done in British television films about returning peacekeepers from the Balkans.
The excellent acting rose above the stereotypes to make it very moving anyway, including very natural child actors who were very un-Dakota Fanning-like.
Nikolaj Lie Kaas is particularly charismatic on screen, even more than he was in "Reconstruction," and should now be in the international pantheon of rugged male stars who play "bad boys" really well, emphasized by portraying brunettes in the land of the blonds. So I give director/co-writer Susanne Bier extra credit for not fulfilling the most obvious direction of the plot, but instead letting tension hang in the air, which is more powerful.
Connie Nielsen, using her native language, has warm and charged chemistry with both her co-stars, but is pretty much just the beautiful wife/mother.
Unfortunately, the distributors didn't spring for American English subtitles so you have to interpret Brit slang as if you're watching BBC America. (I did learn in one instance that the F word sounds pretty much the same in Danish as in English but the subtitles didn't match that sound again so I was wondering what other curse words were being replaced with the fundamental English one.) Some times the translation is just plain confusing; for example, the word "assaulted" seems to have a different connotation than something in the Danish dialog, as a plot point gets confused for a subtitle reader. The translation is particularly a problem during a critical scene where the older girl has an outburst, as it's quizzical how scatological her terms were in Danish as opposed to the English choices to understand how incendiary the scene really is.
The Afghans are uniformly shown with the same level of subtlety as North Vietnamese, let alone Nazis, in prisoner-of-war movies. It is ironically interesting that English is now the lingua franca between freedom fighters everywhere.
The cinematography is beautifully color saturated, but is grainy; perhaps it's blown up from video.
While I can understand how this is a new experience for Danes, it could have more impact for someone who has never seen a post-Viet Nam War movie. Otherwise it's like a fairly predictable cable TV movie about post traumatic stress syndrome on a channel that allows four letter words, including as has been done in British television films about returning peacekeepers from the Balkans.
The excellent acting rose above the stereotypes to make it very moving anyway, including very natural child actors who were very un-Dakota Fanning-like.
Nikolaj Lie Kaas is particularly charismatic on screen, even more than he was in "Reconstruction," and should now be in the international pantheon of rugged male stars who play "bad boys" really well, emphasized by portraying brunettes in the land of the blonds. So I give director/co-writer Susanne Bier extra credit for not fulfilling the most obvious direction of the plot, but instead letting tension hang in the air, which is more powerful.
Connie Nielsen, using her native language, has warm and charged chemistry with both her co-stars, but is pretty much just the beautiful wife/mother.
Unfortunately, the distributors didn't spring for American English subtitles so you have to interpret Brit slang as if you're watching BBC America. (I did learn in one instance that the F word sounds pretty much the same in Danish as in English but the subtitles didn't match that sound again so I was wondering what other curse words were being replaced with the fundamental English one.) Some times the translation is just plain confusing; for example, the word "assaulted" seems to have a different connotation than something in the Danish dialog, as a plot point gets confused for a subtitle reader. The translation is particularly a problem during a critical scene where the older girl has an outburst, as it's quizzical how scatological her terms were in Danish as opposed to the English choices to understand how incendiary the scene really is.
The Afghans are uniformly shown with the same level of subtlety as North Vietnamese, let alone Nazis, in prisoner-of-war movies. It is ironically interesting that English is now the lingua franca between freedom fighters everywhere.
The cinematography is beautifully color saturated, but is grainy; perhaps it's blown up from video.
It's rare to find a movie with a meaningful, political context that is also good drama. Brødre / Brothers has two interwoven story lines: one about the relationship between two brothers, the other about the difference between comfortable Western civilizations sending out soldiers to various missions and the actual war zones. These stories mirror each other and both brothers change roles during the movie: One starts in prison, the other ends up there; one is a family man; the other takes over this role after his brother's death. There is a nice ending, but I find that the only element not fitting the overall structure.
I like this also because it is well edited. Synchronization of images is used to tell the story of Michael in Afghanistan and Sarah in Denmark. Frequently a shot of Afghanistan is shown and directly followed by the same shot in Denmark: looking at a road, from a bus or car, etc.
Initially rhythm is established through a central 'Afghan' theme song. Once the characters are established in our minds, the acting takes over. I'm still wondering why Danish actors (and Scandinavian actors in general) are so good in what they do: Is that a compulsory subject in primary school there because even the children act so unbelievably natural.
The ethical dilemmas facing soldiers are well presented. Michael first has to demonstrate how a launcher works, knowing it will be used against his own people. Then comes the ultimate decision. The traumas he faces are real and reminded me of actual, similar stories of soldiers returning from Bosnia, Afghanistan or Iraq.
Susanne Bier has come out of the Dogme-movement as one of the better directors. In a world with not that many (talented) female directors she is someone to be cherished.
I like this also because it is well edited. Synchronization of images is used to tell the story of Michael in Afghanistan and Sarah in Denmark. Frequently a shot of Afghanistan is shown and directly followed by the same shot in Denmark: looking at a road, from a bus or car, etc.
Initially rhythm is established through a central 'Afghan' theme song. Once the characters are established in our minds, the acting takes over. I'm still wondering why Danish actors (and Scandinavian actors in general) are so good in what they do: Is that a compulsory subject in primary school there because even the children act so unbelievably natural.
The ethical dilemmas facing soldiers are well presented. Michael first has to demonstrate how a launcher works, knowing it will be used against his own people. Then comes the ultimate decision. The traumas he faces are real and reminded me of actual, similar stories of soldiers returning from Bosnia, Afghanistan or Iraq.
Susanne Bier has come out of the Dogme-movement as one of the better directors. In a world with not that many (talented) female directors she is someone to be cherished.
The family man Major Michael Lundberg (Ulrich Thomsen) is happily married with his beloved Sarah (Connie Nielsen) and adores his two daughters Natalia (Sarah Juel Werner) and Camilla (Rebecca Løgstrup Soltau). His younger brother Jannik (Nikolaj Lie Kaas) has just left prison on probation for bank robbery and has issues with his father Henning (Bent Mejding). Michael invites Jannik to have dinner at home with their family. When Michael arrives in Afghanistan, his helicopter crashes and he is considered missing in action. However, he is captured and sent to a camp where he meets the radar technician Niels Peter (Paw Henriksen). After a long period imprisoned, Micahel is forced to kill Niels with a bar to survive. Meanwhile Jannick comforts Sarah and the children and he becomes close to Michael's family. When Michael is rescued, he comes back home emotionally detached and paranoid. Further, he is convinced that Sarah and Jannik have slept together during his absence. When the envious Natalia lies during the birthday dinner party of her sister telling that her mother and Jannik had shagged to upset her father, the disturbed Michael triggers an intense paranoia jeopardizing his family.
"Brødre" is a powerful and realistic drama about lives destroyed by war. This film is extremely well-acted, with an adequate cast that gives credibility to the plot led by the gorgeous and excellent Connie Nielsen. The sensitive director Susanne Bier of "Efter Brylluppet" makes another extraordinary movie based on the family dynamics. Jim Sheridan remade this film in 2009, but in a shallow teen "americanization" version. My vote is nine.
Title (Brazil): "Brothers"
"Brødre" is a powerful and realistic drama about lives destroyed by war. This film is extremely well-acted, with an adequate cast that gives credibility to the plot led by the gorgeous and excellent Connie Nielsen. The sensitive director Susanne Bier of "Efter Brylluppet" makes another extraordinary movie based on the family dynamics. Jim Sheridan remade this film in 2009, but in a shallow teen "americanization" version. My vote is nine.
Title (Brazil): "Brothers"
We all know that American cinema can't help itself to do remake of foreign films... That's why i saw Brothers before this original danish movie. When in this one all appears to be shot in steady cam, the American way tries to put some melodramatic trigger.
This version is about feelings, about situation and personal change: life make us evolve like every decision we take and nothing is good or bad, there is a lot of in between. The chose to accumulate the short shootings, practically no music or just a few notes on one instrument,are trying to bring us along this day to day story really well interpreted. The characters in their flaws or every day basis are believable, there is not so much emphasis like in the good but too much American film. It's in their nature to modify, adjust the deepness of the movie and after seeing this 2004 version, we actually miss something: this authenticity.
In both versions, dialogs, ellipses are exactly the same, but characters turned out to be different. We actually have to exact opposite films and this is a real challenge to see both.
This version is about feelings, about situation and personal change: life make us evolve like every decision we take and nothing is good or bad, there is a lot of in between. The chose to accumulate the short shootings, practically no music or just a few notes on one instrument,are trying to bring us along this day to day story really well interpreted. The characters in their flaws or every day basis are believable, there is not so much emphasis like in the good but too much American film. It's in their nature to modify, adjust the deepness of the movie and after seeing this 2004 version, we actually miss something: this authenticity.
In both versions, dialogs, ellipses are exactly the same, but characters turned out to be different. We actually have to exact opposite films and this is a real challenge to see both.
Wusstest du schon
- WissenswertesAlong with Kongekabale (2004), this was the most successful and best reviewed Danish film of the year in its native country. However, neither of these two films was submitted by Denmark to the Oscars in the Foreign Language Film category. The Danish jury decided to send a documentary film, The Five Obstructions (2003), which had only been attended by 12,532 people in Danish theaters. This story made headlines, and Danish film producers officially stated that they would force the jury to pick Brothers - Zwischen Brüdern (2004) or "Kongekabale" instead. The jury, however, did not change their minds, and "De fem benspænd" was sent to the Oscars. It was not among the eventual nominees. "Brødre" later won several awards across the world, including at the Sundance Film Festival, and opened to stellar reviews in the US. The jury later admitted that they possibly chose the wrong film to send to the Oscars that year.
- PatzerSarah's pink scarf disappears and reappears several times in one of the scenes in the kitchen.
- VerbindungenFeatured in Dansk films bedste: Skurke, Dialekter og Forbudt kærlighed (2022)
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- Brothers
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Box Office
- Bruttoertrag in den USA und Kanada
- 389.220 $
- Eröffnungswochenende in den USA und in Kanada
- 8.161 $
- 8. Mai 2005
- Weltweiter Bruttoertrag
- 489.706 $
- Laufzeit1 Stunde 57 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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