Hamsun

This Norwegian-Swedish-Danish-German coproduction directed by Jan Troell is quite a compelling watch.

Max von Sydow playing a great role as the old writer In his early 80'ies. The Norwegian Nobel laureate has written some profoundly world-renowned novels made into films since 1916.

This film takes on Hamsun's legacy as an anti-British and pro-nazi spokesman. It tells the naïve older man's belief in the 3rd Reich, but with Norway as a sovereign nation. He meets up with Hitler, who he admires, to ask him to save Norway from Reichskommisar Terboven.

Following the last years of Hamsun's life (he died in 1952) this film gives an upright depiction of the national hero ruining his reputation with his nazi sympathies.

The film lets Max von Sydow and Danish Gitte Nørby as his wife Marie Sydow speak their own native languages, even if both Knut and Marie was Norwegian. This is it first off-outting but you soon forget it. Why it's done? Maybe making it easier to accept that he was a traitor?

In Scandinavian filmography this is a must watch.

The movie is an exquisite and deeply layered biographical drama that delves into the life of a towering figure in literature, whose legacy remains controversial due to his staunch allegiance to Nazi Germany during World War II. The film, starring the legendary Max von Sydow in the title role, is not just a historical account but a masterful character study that examines the intricate and often contradictory nature of its protagonist, Knut Hamsun. This context of the war adds a dark and profound backdrop to the narrative, as it explores how ideological conviction during one of the most catastrophic conflicts in history can blind individuals to the devastating consequences of their actions.

Directed by Jan Troell, who also serves as the film's cinematographer, the movie crafts a visual aesthetic that is both stark and poetic. The use of natural lighting and carefully composed frames immerses the audience in the early 20th-century Scandinavian landscape, reflecting both the external historical context of Nazi occupation and the internal conflicts of the characters. The cold, muted color palette evokes the emotional detachment and turmoil of Hamsun's later years, while moments of warmth and vibrancy punctuate key relationships, particularly between Hamsun and his wife, Marie (Ghita Nørby).

Troell's cinematography strikes a perfect balance between intimacy and grandeur. Close-up shots allow us to witness every flicker of doubt, pride, or despair in von Sydow's mesmerizing performance, while expansive landscape shots place these personal struggles within the broader socio-political upheaval of World War II. The conflict is not merely a historical backdrop but a key element that influences the personal choices and ideological battles of the characters. The war's shadow looms large over Hamsun's career, as his support for Nazi Germany tarnishes his once-revered intellectual reputation, making his ideological journey even more tragic and poignant.

Max von Sydow delivers one of his finest performances as Knut Hamsun. His portrayal is a masterclass in subtlety, capturing the novelist's intellectual arrogance, vulnerability, and eventual disillusionment with extraordinary depth. Von Sydow embodies Hamsun's contradictions: a man of deep convictions, yet one blinded by his own ideals, leading him to a tragic downfall. His unflinching support of Nazi Germany-despite the war's atrocities-reflects a moral blindness that deeply contradicts the humanism often found in his literary work. This ideological stubbornness ultimately leads Hamsun to face both personal and public disgrace.

Equally impressive is Ghita Nørby as Marie Hamsun. As Hamsun's wife, she provides an emotional counterpoint to his aloofness. Her performance is fiery and passionate, portraying Marie as a fiercely independent and politically engaged woman who, unlike her husband, fully embraces Nazism. Her character's unwavering support for the Third Reich, in contrast to Hamsun's more complex, conflicted stance, highlights the divisiveness of the war within personal relationships. The dynamic between von Sydow and Nørby is electric; their interactions feel lived-in, raw, and painfully authentic. Their marriage becomes a microcosm of the broader ideological war, torn apart by their political differences.

The supporting cast also shines, with nuanced performances that avoid caricature. The film refrains from reducing historical figures to one-dimensional villains or heroes, opting instead for a nuanced portrayal of the political and personal complexities of the era. The film's treatment of the Second World War is particularly striking; it does not shy away from exposing the moral failings of those who sided with Nazi Germany, showing the devastating human cost of their ideological convictions. This is not a straightforward narrative of good versus evil but a meditation on the blurred lines that were often present during the war.

Jan Troell's direction is deliberate and restrained, allowing the film to unfold like a literary novel rather than a conventional biopic. Instead of providing clear moral judgments, Hamsun challenges the audience to grapple with the contradictions of its central figure. The pacing is methodical, immersing viewers in Hamsun's world without rushing through historical events. This slow-burn approach might not cater to audiences seeking fast-moving political drama, but it serves the film's introspective and philosophical nature well. The film's restrained narrative gives it the space to explore the broader impact of World War II on both individuals and societies, touching on themes of loyalty, betrayal, and the devastating effects of war on intellectual and artistic figures.

The screenplay skillfully balances historical accuracy with dramatic interpretation. The dialogue is thoughtful and evocative, with much of the film's power deriving from the unsaid-the glances, the hesitations, the spaces between words. The script refuses to spoon-feed its audience, trusting viewers to engage with the moral and psychological dilemmas at play, especially as the war's realities become undeniable. Hamsun's eventual trial for his wartime associations becomes a crucial moment in the film, representing not only the reckoning of a man but also the reckoning of an entire generation's choices during the war.

The film's sound design is subtle yet effective. There is an almost meditative use of silence, emphasizing the isolation and alienation Hamsun experiences as his world unravels. The musical score is sparingly used, allowing moments of quiet tension to carry their own weight. When music does appear, it enhances the film's melancholic and introspective tone without overwhelming the narrative.

Beyond its biographical focus, Hamsun explores themes of artistic genius, moral blindness, and the consequences of ideological rigidity. It does not attempt to exonerate Hamsun for his actions, nor does it reduce him to a villain. Instead, it presents a portrait of a man who, despite his literary brilliance, failed to grasp the full ramifications of his political choices until it was too late. The film underscores the personal and societal consequences of the war, illustrating the ways in which political allegiance during such a destructive time could lead to moral and personal destruction.

The film also serves as a meditation on aging, regret, and the loss of relevance. Hamsun, once a revered intellectual, finds himself increasingly alienated from the world he helped shape, ultimately standing trial for his wartime associations. This sense of diminishing power is captured poignantly in von Sydow's performance, making Hamsun as much a tragedy of personal downfall as it is a historical drama. Through this lens, the film becomes a powerful commentary on the cost of ideological inflexibility during one of history's most harrowing conflicts, offering a poignant reflection on the moral choices made by those who lived through the Second World War.

Legendary director Jan Troell tells an uncompromising story from the Second World War in epic breadth and opulent images. His work avoids clear separations between good and evil. With Hamsun Jan Troell now makes use of a central protagonist who is both anti-hero and a victim of delusion. Late Max von Sydow offers the best portrayal of his life in the formation of Hamsun, an aloof, neck-wielding writer who was almost deaf completely dependent on his wife (Ghita Nørby). The film's plot begins in 1935, when Nobel Prize-winning Norwegian writer Knut Hamsun's passion for Hitler became increasingly known to everyone. The national bard is on the spotlight and becomes a traitor when he publicly speaks out for the German occupiers in 1940. It also portrays the relationship between Hamsun and his wife Marie in the years 1935 to 1952. They both sympathized with the Nazis, and this led to a lengthy trial against Hamsun which is one of the best highlights of the films.

Jan Troell tells of relationship and emotions at the end of the Second World War. He wraps the whole thing up in a melancholy drama, which is also loosened up again and again with a lot of dialog wit and humor. From the start, Troell has managed to break with classic clichés and shuffle the cards again and again. Hamsun is not what you would call entertainment, nor is it 100% clear who its audience is, but a good film nonetheless. The whole tragic tale is one of Jan Troell's yet again magic moments. He has so many of them. RIP Max von Sydow. there is plenty of competition, but his performance as Hamsun will be his greatest.

First of all I'd like to say that this movie was more exciting than I would have thought it to be in the start. Which is always a plus. In the beginning it was odd to me that Knut Hamsun were played by a Swedish actor and his wife Marie Hamsun were played by a Danish actor. But to tell you the truth, after a while you hardly noticed the language difference. And they could probably not have found a better Knut and Marie for this movie. The movie starts right before the second world war, and the 'action' in it is mostly about the Hamsun family's life during the second world war and afterwards. It was kind sad that the movie started so late in Hamsun's life, seeing that he was around the age of 80 (?) in the war years. Because Knut Hamsun had an utterly exciting life before that, and the most of his writings were written before that. It was confusing to me who his kids were at times, seeing that they weren't introduced to us that well. This is a great movie about an Norwegian author who rather took side with the Germans during the second world war, since he despited the English. Or was he on the German side? this movie takes up this dilemma, which no one yet can be a 100% sure about. But just remember. This movie only takes the Last years of Knut Hamsun's life. You should know a few things about his life before this, if you want to understand the movie properly.

One of the elements that make this film one of the most fascinating ever made is the use of language... while Knut and Marie Hamsun were Norwegians, Max von Sydow and Ghita Nørby speak Swedish and Danish respectively throughout the movie. To those not well-versed in Scandinavian languages, there is a very big difference. Most Swedes cannot understand more than 20% of spoken Danish and perhaps 60% of Norwegian. To make the comparison easier to grasp, imagine a Spanish movie where the main characters speak Portuguese and Italian. I don't know why this linguistic device was used, but the effect is remarkable. At first I figured it was a way to distance Norwegians from the main characters whom were regarded as traitors, but that theory doesn't hold since the character who plays Quisling (the man who "sold" Nazism to many Norwegians) speaks Norwegian throughout the film.

Trivia: throughout Scandinavia the name "Quisling" is not just synonymous with "back-stabber"... it has actually become a commonplace word and is found in most dictionaries. It is comparative to the phrase "his name is Mudd" in the U.S.