Wie im Himmel

First I was caught totally off guard by the film's initial lyricism and then I became totally enchanted with the unfolding story and engrossed with the brilliant directing. The characters were all fully developed, not bigger-than-life but just like the people we live among anywhere we are in the world, in Sweden, in Turkey or in America, all completely believable human beings with foibles and nobility. Hollywood could learn so much from this beautiful film. It shows that there is no need to go into every little detail behind every action to bring out the whole theme clear and bright, and that shows the brilliance of the director! Hearfelt thanks to Kay Pollak and the wonderful cast for this superb treat!!

A beautiful film, touching profoundly up the simple, yet divine aspects of humanity.

This movie was almost perfect, and seeing as nothing in this world can be truly perfect, that is pretty good. The only minor thing I subjectively object to, is the pacing at some points in the middle of the story. The acting is also very good, and all the actors easily top actors in high-profile films. The actual directing seems to have been well thought through, and the script must have been amazing. There are some truly breathtaking moments of foreshadowing, and a quite gorgeous continuing circular composition of the story.

The moment in the movie, when the main character achieves that feeling of being in heaven is the perfect ending to a truly brilliant yarn.

The line, of course, is from the Lord's Prayer - "Thy Will be done on Earth as it is in Heaven". Sweden, especially its far north, is not my idea of heaven -30 degree C winter temperatures are a little on the low side for me, but the good folk who live there no doubt think they are in God's own country.

The storyline here is a familiar one. Acclaimed international musician Daniel suffers health breakdown in mid-career, goes back to the little village in northern Sweden where he was born. Persuaded by the local pastor to help out with the church choir, he turns some unlikely talent into a class act, and they enter a contest held in Innsbruck Austria. There are echoes (sorry) of the band players of "Brassed Off" the models of "Calendar Girls" and the dancers of "the Full Monty". But of course he causes plenty of emotional upheaval as some of the more downtrodden villagers realise their worth and revolt against their oppressors. He faces hostile husbands and an increasingly dubious pastor, but nothing except death is going to stop him.

Despite the somewhat corny story, we get to know and like many of the characters, who come across as people rather than caricatures despite many of them being recognisable "types'. I did wonder about the wife-beater being unpunished for so long – Sweden is one country in the world where such violence is pretty strongly discouraged (he was also a bit young to be one of the bullies of Daniel's youth) and the puritanical pastor with a secret passion for girlie magazines was a bit of a stereotype, but marvellously realised by Niklas Falk.

Michael Nyqvist is simply wonderful as Daniel, the frail but driven musician, and there's some nice music as well. I was rapt for the whole two hours. The ending is what you make of it, I guess, but it's not spoiling it to say Daniel achieves what he set out to do.

Kay Pollak's 2004 heart-warmer Så som i himmelen/ As it is in Heaven contains every stereotype of Swedish humanity and inhumanity yet manages to be a crowd-pleaser. It contains plenty of ammunition for cynical critics, continuity error-spotters and for saccharine-debunkers, yet manages to depict the colours of life in a small community evocatively. The film also runs the gamut of proverbial messages about 'finding one's own voice' and 'just doing it despite one's fear', without completely removing the lump from the throats of the cynics.

Its success as a crowd pleaser comes from two facts. Firstly, small films about strangers bringing new life to rural Christian communities provide plenty of scope for the exposure of hypocrisy while at the same time allowing repressed characters to break out of their hairshirts. The same year and with a similarly Swedish breeze, The Queen of Sheba's Pearls did it, and Babette's Feast also comes to mind. Secondly, any film about small communities taking on the whole wide world will strike a human chord in our increasingly individual/self- focused and impersonalized world. This film's structural similarity with the likes of The Full Monty, Brassed Off, Calendar Girls and On a Clear Day shows its indebtedness to the formula. But it is a formula with life left in it yet, and this seems to be because people need positive- message films that evoke a sense of community almost in spite of themselves.

The stranger is burned-out maestro Daniel Daréus on a quest for self-rediscovery. The town he visits, or rather revisits, is, unbeknownst to the townsfolk, the place of his childhood. He was bullied mercilessly by classmates here, supposedly because he was a sensitive musician without aspiration to drive a truck. Here, he takes the job of cantor/choirmaster, despite the usual suspicions of artists and outsiders. The place is, of course, populated by a wide range of recognizable types whose character arcs can be predicted: the broken-hearted, fair-haired girl so beautiful she nearly glows; the cellphone-ringing local businessman; the woman whose beauty is lost amidst domestic abuse; the steely pastor and his less austere wife, who at first seem right out of Ingmar Bergman. Also present: jealous, uptight spinster (Siv) (check); geriatric whose soul still sings (check); elderly couple who may have repressed desires for each other since kindergarten (check); obese person whose function is to point out we should not laugh and say 'fatty' (check); intellectually handicapped boy who proves able to sing a good 'A' (check).

Pollak's film is not all warm fuzzies, however. It diverts from the 'let's put on a show despite setbacks and moral opposition' sub-genre. It contains violence and an ending that might well be a metaphor for dying after achieving creative nirvana. The violence of the film is mostly a function of male anger and repression, but in never delves deeply into why the school bully who grows up into a wife beater is like this. Similarly, the small town Pastor so closely adheres to the moralistic, black-wearing super-Protestant stereotype, that his secret indulgence in girlie magazines is hardly surprising. His repressions and hypocrisies are just there, dangling unrelated to psychological reality. Perhaps the unexplained photograph of a young boy, a lost son perhaps, glimpsed once over his shoulder, holds the secret.

Perhaps these holes are functions of the editing, like several inconsistencies and continuity glitches that can be spotted, such as Siv's unexplained reappearance in the choir (twice) after moralistic outbursts. In fact none of the hitches in the film last very long and all seem resolved within a scene. Apart from in some awkward love scenes, the film's 127 minutes seldom drag, but there is a feeling that things may have been left on the cutting room floor.

The film remains solid three-star-fare despite the holes that can be picked in it. This is simply because in a world of technology-focused flicks and materialistic self-seeking, any glimpse of human community is, deep down, welcome for anyone, even the cynical.

The famous international conductor Daniel Daréus (Michael Nyqvist) has a heart attack with his stressed busy professional life and interrupts his successful career with an early retirement. He decides to return to his hometown in the north of Sweden, from where his mother left when he was a seven year-old sensitive boy bullied by Conny and other school mates, to live a low-paced life. He buys an old school and is invited to participate in the church choir by the local Shepherd Stig (Niklas Falk), but the reluctant and shy Daniel refuses in the principle. However, he gets involved with the community and feels attracted by Lena (Frida Hallgren), a local woman with a past with the local doctor. His music opens the hearts of the members of the choir, affecting their daily life: the slow Tore (André Sjöberg) has the chance to participate in the choir; Inger (Ingela Olsson), the wife of Stig, releases her repressed sexuality; Gabriella (Helen Sjöholm) takes an attitude against her abusive and violent husband; the gossiper and frustrated Siv (Ilva Lööf) opens her heart against Lena; the fat Holmfrid (Mikael Rahm) cries enough against the jokes of the businessman Arne (Lennart Jähkel); even Daniel starts loving people and Lena as the love of his life. When they are invited to participate in an important contest in Vienna, Daniel finds his music opening the heart of people making his dream come true.

"Så Som I Himmelen" is a touching and sensitive movie, with a very beautiful story. It is impressive how director Kay Pollak and the screenplay writers have been able to develop a great number of characters in 132 minutes running time. The performances are top-notch, supported by magnificent music score and at least two awesome moments: when Gabrielle sings her song in the concert, and certainly the last concert in Vienna with the audience, jury and everybody participating in the melody, and Daniel making his dream come true. Like in "Teorema", the stranger changes the lives, not of only a family, but of a conservative community. Further, like many European movies, the open conclusion indicates that Daniel actually died, at least in my interpretation, reaching peace with the success of his music. My eyes became wet in these two scenes. My vote is nine.

Title (Brazil): "A Vida no Paraíso" ("The Life In the Paradise")