Instants éternels

The title of this film is particularly apt in light of what it presents and how it does so. Obviously every photograph is an everlasting moment in itself but in this film they are moments that represent a time and a place. Maria Larsson's pictures show the plight of the poor in early 20th century Sweden; the Red Rallies that were sweeping through Europe and the coming of war through to the restoring of peace. All these events and how they affect the ordinary people of her little town are recorded faithfully by this simple downtrodden housewife in between fending off her drunken husband's advances and raising the seven or so children that result. While there isn't so much a plot to 'Everlasting Moments' there is still an engaging story. It opens in 1907 when Maria discovers a camera she had won some years before and put away and forgotten about. Times are hard and her first thought is to sell it and she heads to the local photographic shop run by Sebastien Federson. He manages to persuade her to wait a while, to try and get some use of the camera first before she decides to get rid of it and pretty soon Maria is hooked on her new hobby. Meanwhile her husband Sigge flits from job to job and pub to pub and makes home-life more and more a living hell. Maria keeps her camera a secret from him for as long as she can and uses it as her only means of escape – she can't possibly leave her marriage, tearing asunder what God has joined together. While Sigge is all but openly unfaithful she herself has a chaste, platonic love with her mentor Sebastien. As Everlasting Moments takes you on its journey you just go with the flow, you forget that at some point this film is going to come to an end and in a way you don't really want it to. The acting all round is excellent and appropriately enough the photography is striking. The entire film looks like a faded photograph from the era, it's shot in colour but you have to regularly remind yourself of the fact by spotting something of colour in the scene. This just adds to the atmosphere, the feeling that you are not watching a film set in the early 1900s but in fact at a play - being performed in the early 1900s.

I was reluctant to see Jan Troell's film for fear it might not be worthy of the experience of seeing his "The Emigrants"/"The New Land." Ordinarily, I'd rush to see something by any good director, but those two films were of such distinction, I hesitated.

Many of the same issues in "The Emigrants"/"The New Land" are here but we have it from the point of view of an artist and this film concentrates less on the art itself than the reason the artist needs to do it. It's a slight shift in focus than we usually get in biographies of artists, but it made this film something that's truer than, say, seeing Ed Harris ape Jackson Pollack dripping paint.

The rise of the middle class, WWI, labor unions, the demise of feudal monarchy, alcoholism, abortion, disability, codependency, feminism, and most importantly how industrial technology released the poor from dire existence to the opportunity (and leisure) of making art...and why that was important.

It's an ambitious film that feels as light as a shadow. While there is quite a bit of dialog, there's never any explanation despite extensive voice-over by a daughter of the subject of the film. We're shown why this woman needs to take photographs, and how she's introduced to it and the changes it brings lifts us up to the ecstasy she feels.

The circumstances of her marriage which is the primary focus of her suffering Troell renders with great sensitivity and understanding. The fact that the abusive husband, Mikael Persbrandt, almost steals the film is a testament to the compassion of the filmmaker.

But its the central character's actress, Maria Heiskanen, who takes a role that could have been maudlin and infuses it with a ferocious passion that stays in one's memory. No director could have wished for more in this performance.

Filmed in 16mm then transferred to 35mm, the passion of the main character for making images is clearly the director's own. One (of many) moments is so exquisite and complete: The lead character doesn't understand how photographs are made, and when she's shown with the image of a butterfly projected on her open hand, we're as astonished as she is.

That image is used again near the end of the film in a way that's masterful. I don't know if this movie is as good as "The Emigrants/New Land," but its worthy of the director who made that monumental work.

Greetings again from the darkness. The best word I can come up to describe this fine film is humanistic. Everything about director Jan Troell's (The Emigrants) approach is based on the affect or reaction of the individual, very human, characters.

Maria Heiskanen as Maria Larsson is fascinating ... in the most grounded, heartfelt style I have seen. She reminds of Imelda Staunton in her ability to sell grace and dignity despite all obstacles. This is not a film about some character's ability to make headlines. Rather it is one woman's battle for independence for herself and stability and safety for her seven children.

We may question why Maria insists on remaining with her violent-when-drunk husband, but she takes her father's counsel to honor her vows very seriously. She battles through much for her family but the true joy in the story comes from her awakening with a Contessa camera, courtesy of Sebastian Pederson (played well by Jesper Christensen). She discovers a god given talent and eye for photography.

This is a long film, but so realistically presented that it just compels the viewer to join in. Sadly, it won't find much of an audience in the U.S., but it is excellent film-making and a very rewarding journey.

Everlasting Moments (2008)

This is a vivid, unsentimental, yet tender and loving portrayal of a Swedish seaside family in the early 20th Century. The brute is the father of the family, and yet he is fun and sometimes loving. The heroine is the mother, who suffers greatly, but who also can never quite break free of her husband. The children grow up and prosper, modestly, anyway, over the 15 years of the movie. And we come to see that this is pretty much the most common story of a working class family from that period, anywhere.

And there is a small extra interest, because the mother discovers a camera among the family things, and is persuaded to learn how to use it. The scenes, interspersed over the years, where she takes pictures and develops them in a makeshift darkroom are beautiful, and yet they are not (thankfully) overblown into something momentous and artistically profound.

My field happens to be the History of Photography, which I teach at a couple colleges here in Albany, and I have to say, they nailed the historical accuracy very well. I can't say for sure about when that camera was made, but it seems about right. More importantly, I can say that the style of the photographs is really typical for a talented, serious, dabbling amateur such as our leading woman. The size, the clarity, her care in holding it (even turning it horizontally for a key photograph), and the procedure in general is quite exactly how I would have advised a moviemaker to go about it. This helps not only people in the know (there aren't so many of us, I realize) but in general an historical validity in the bones of the movie.

As elegant as the movie is filmed (almost to excess, in a few scenes--the cinematography outclassed by the simple, gorgeous use of light throughout), it comes across as hard and true. The film is beautiful, but life is beautiful. It's not easy, it involves losing some battles, it involves giving up some dignity, but if you stay the course, as these people do in ways most contemporary families would not, there is some other kind of reward.

Maria Larssons eviga ögonblick (2008), directed by Jan Troell, is showing in the U.S. with the title "Everlasting Moments." It's an unusual movie, and I enjoyed it, but it's hard to describe or review.

The film takes place in Sweden, roughly between 1900 and 1920. It's more or less an "I Remember Mama"-type memoir, narrated by the oldest daughter of a married working-class couple--Maria Larsson, played by Maria Heiskanen, and Sigfrid Larsson, played by Mikael Persbrandt.

Maria Heiskanen is a very attractive actor, but this part calls for her to appear relatively plain, which she manages to accomplish. (Sort of like Betsy Blair appearing as "the dog" in "Marty.") Her husband is a basically decent sort of guy, who was considered a good catch when they married. Unfortunately, he's a mean drunk and, even when sober, he's not always the best of spouses.

What makes Maria different is that she has won a camera in a lottery, and her ability to take photographs moves the plot forward, insofar as it moves forward at all.

The film more or less meanders along, with episodes that appear realistic enough, but that don't always seem to be heading in a clear direction from beginning to middle to end. Time moves forward, and people--and the actors who portray them--get older, but the movie doesn't unfold in an "A therefore B, B therefore C" sort of way.

This is a movie to watch if you don't demand sex or action, if you don't mind a slow pace, and if you don't mind a movie that appears to be shot more in sepia than in true color. I enjoy that kind of film, so I liked "Everlasting Moments." If your tastes don't run along those lines, I'd pass it by.

Incidentally, we saw the film in a theater, but I think it would work well on a small screen.