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.

It's not hard to classify this one--it's an intense psychological drama. Whatever mood you were in before you started, you are most likely to be in a somber mood at the end. Perhaps the less you know about the story the more it will involve you. This is one of those movies that makes you ask the questions, "What would I have done in that situation," and "How would I have lived with my decision."

The main thrust of the story is an intimate examination of how a tragedy affects family dynamics. Nature abhors a vacuum. Guilt, jealousy, and doubt drive this to an intense climax.

Parformances are first rate, particularly Connie Nielsen.

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.

'Brødre'('Brothers') is a remarkable film from Denmark written by Anders Thomas Jensen and Susanne Bier who also directs this microscopic examination of the intricacies of family bonding, the significance of the blood ties between brothers, and the effects of one of the brutal realities of war on every individual member of a family. It is a tense drama made palpable by some phenomenal acting and direction.

Michael (Ulrich Thomsen) and Jannik (Nikolaj Lie Kaas) are polar opposites as brothers: Michael is his father's dream, a man who is committed to his family, his beautiful and devoted wife Sarah (Connie Nielsen) with whom he has two daughters, while Jannik is a carefree drifter who drinks too much and refuses to have the stable life his parents expect of him. Michael is off to war in Afghanistan and is in a tragic helicopter accident and reported as dead. When Sarah is informed her world crumbles, as does the mental state of her father-in-law. Jannik hears the news while drunk but slowly awakens to the awful reality that his brother is gone and his sister-in-law and nieces need the support he has never been able to muster.

In Afghanistan we discover that Sarah's inclination that Michael is not really dead is true: Michael has been captured by the Taliban and the experience as a prisoner changes him indelibly, breaking his shell of perfection and he becomes vulnerable and fragile. When Michael returns home to the surprise of everyone the dynamics that have reversed between the family and Jannik and the force that bonds Michael and Jannik is challenged and we are left to examine the fallout.

The script in Danish is supplemented with excellent subtitles in English, but one wonders if the words are even necessary - so fine is the acting of every actor involved. Connie Nielson is a major force in cinema today, a brilliant actor whose spectrum of dynamics appears endless. Both Thomsen and Kaas are equally fine in their difficult roles. This is a superlative work, a psychological drama that strikes chords of familiarity on many levels. Highly Recommended. Grady Harp

"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.