Call Girl

'Call Girl', a film about a sex scandal in Sweden in the 1970's, is labeled as a classic political paranoia thriller. It has indeed some elements of this film genre. There is the righteous police investigator who has to fight against corrupt powers. There are also mysterious exchanges in dark and rainy streets between men in raincoats. There is an undercover photographer who captures suspect encounters from a parked car.

But that is only one part of the story. 'Call Girl' is as much a coming-of-age film as a political thriller. The first half of the film focuses almost entirely on 14-year old Iris, an adventurous girl who ventures into Stockholm's night life and slowly gets involved in a prostitution network servicing high-powered politicians.

The movie is clearly meant as a critique of Sweden's ultra-liberal culture in the seventies. The politicians publicly defend equal rights for women and men, but at the same time use underage girls as disposable sex toys. On the other hand, Iris and her cousin Sonja seem to enjoy the excitement, the glamour and the proceeds of their secret life as call girls. They are not shown as helpless victims but as naive girls who only discover that they have made a mistake when it is too late.

'Call girl' is very good in capturing the mood of the seventies. A great job has been done by Dutch cinematographer Hoyte van Hoytema, who created the same atmosphere for 'Tinker, Taylor, Soldier Spy'. But the film fails in creating the right amount of suspense. In the first half, the emphasis is too much on Iris's introduction into the call girl network. This part is too slow and too long. We see the same things over and over again: the girls visiting clients in posh hotels, the girls being 'brainwashed' by the network leader, the girls snoring cocaine, the girls parading around in see-through blouses, etcetera. The thriller element is more prominent in the second half of the movie, but even then the film never surprises in a positive way.

The most spoken-about aspect of the film is the Olof Palme link. The son of former Swedish prime minister Olof Palme has started a lawsuit because he thinks the film suggests that Palme had sex with underage girls. In fact, the name Palme is never mentioned. But apparently, in Sweden there has been a police report about Palme's involvement in the network, which has subsequently been covered up until the 1990's. Because of this historical link, the film is probably a big deal for the Swedes. But for the rest of the world, it is nothing special.

Here's something different. Interesting and intriguing drama told from fact, about some juvie hotties who were used for the sexual pleasure older perverts of high ranking society, some politicians, etc, one finding himself in a corner. Some of them are so repellent as are some of the the older sex workers, you wouldn't touch with a nine foot pole. Callgirl indeed has some strong moments, ones of pure intensity as it builds to a climax of unexpected revolutions, of revolving doors for the characters, where the baddies get away with it, and our two young teens are back in the squalor. Some of the scenes involving girls looking particularly young, 14-15, undressing and being fondled, I'm amazed the filmmaker got away with it. But nonetheless, this is an engrossing film, one of those that become more involving the further it progresses. The film recounts all the hours of phone tapping, bugging the operators and clientele of this racket, with pretty much the same hopeless result as what happened in Traffic. This is one of the best film I've seen in ages, with a story that needs to be told in a film that needs to be seen.

CALL GIRL is one of those slow and sombre Scandinavian productions that's all about the slow burn. It tells the true story of a scandalous call girl ring running in Sweden in the 1970s in which underage girls were procured for leading politicians of the era. Names have been changed but the viewer nonetheless comes away with some idea of the corruption inherent during the era, and of course we all know that most countries have their own skeletons in the closet from that decade.

As a film, CALL GIRL doesn't really excite or involve the viewer too much, although it's certainly very well made and beautifully directed in places. The subject matter is racy but somehow never sleazy; there's a classy slickness to the production that veers on the right side of taste. Saying that, there's still a heck of a lot of nudity from the young women involved, so it's not going to be for all tastes. The acting is of a generally realistic standard, too. My main issue is with the overlong running time; at least half the has elapsed before the story begins for real with the police investigation and some efficient pruning could have turned this into something really remarkable.

Well that was a disappointment. I thought the story (based on true events) would be something interesting to watch but the movie just turns out to be more than two hours of boredom. It's just not well made, it could have used a better editing and filming. Too many repetitive scenes, not even well shot, just made this movie boring to watch. The acting isn't anything special at all, just like the whole movie. Maybe it's interesting for somebody from Sweden, even though I doubt that. Did I regret watching this one? Yes, it's a waste of time!

'Call Girl' premiered in the UK yesterday at the Edinburgh International Film Festival and earnt its inclusion with a clever narrative, great casting and an outstanding performance from Pernilla August.

August's portrayal of Dagmar Glans, or the real-life Doris Hope, was remarkably accomplished. Her interactions with the girls, police and politicians of 70's Sweden were entirely convincing. She is at once powerful and repulsive and cannot be ignored.

The film provides social and political context through multiple narratives that allow the audience to glimpse the story from the point of view of the girls, their guardians, Glans, the secret service and the politicians in equal measure.

The clever casting of a wide array of politicians allows the film to show both an intimate and distant side to their world. They are effectively juxtaposed with the girls that they use and, through this, come across to the audience as powerful, feared but flawed characters.

The soundtrack and wardrobe are also worthy of a positive mention.

For me 'Call Girl' is less enjoyable due to some exaggerated acting and plot jumps.

The representation of Simon J Berger's policeman 'hero' is exaggerated. His actions are enough for the audience to understand his noble intentions and his abrasive style. There is no need for the added swagger, the punch and the rock-star dress-sense that is bolted-on to this character.

The change which comes about in the friendship between Iris and Sonja is acted out unconvincingly by Sofia Karemyr and Josefin Asplund.

Also, the sequence at the beginning of the film which shows the press officer in Sandberg's office might confuse viewers. Instead the action could cut directly from the introductory TV interview to Iris and her mother.

This film taught and engaged me and I would highly recommend it. If you enjoyed this movie you may also like 'Shame' (2011).