Hamsun

Out of all the countless films and shows I've watched over the course of my life, there's barely a single one that felt like such an obvious insult to any reasonable viewer and reason itself.

Written by one of europes most notorious rad-fems (a man btw), this film seems to be some kind of attempt to "deconstruct" Hamsun as a person by people who seemingly hated him and had him live rentfree in their head for decades.

The film isn't called "Knut Hamsun" but "Hamsun" for a reason. It's all about his wife and written from her radical feminist, jealous, bitter and angry perspective (allthough his children and every other living being seem to hate him as well in this fever dream of a film).

The whole thing is an almost Ibsen-like (that's an insult) moral play, superficial, one-sided and always playing/turning men and women against each other.

You have to search with a magnifying glas in order to find one single scene that is at least somewhat realistic or one that doesn't just exist in order to stamp on Hamsuns grave when he can't defend himself.

It doesn't take a Hamsun fan, nor an academic who dedicated himself to Hamsun for a long time (like me) in order to see through this film after just 5 minutes.

Ironicly, the more the film tries to throw dirt on Hamsun, the more likable and human he gets. Especially since he's literally the only person in the film who isn't driven by obsessive, pathological moralism and self-righteousness.

All that said, I want to end this review with a friendly suggestion: Whatever you do, read the books of a writer for gods sake, not books about him. And avoid films about him since they are mostly too flattering or evil-spirited anyway.

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.

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.

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.

Knut Hamsun (1859 - 1952) was, alongside Henrik Ibsen, the most famous figure in Norwegian literature. Hamsun published works over an astonishing span of 70 years. He won the Nobel prize in literature in 1920, by which time he was probably his nation's most internationally famous citizen. This film mentions his glory days, but takes place afterwards. In the 1930's, when Hamsun was already an old man struggling with his hearing and possibly his mental capacities, he fell out of grace by supporting Nazi Germany. He wasn't an anti-Semite, but hated the imperialist UK so much as to align himself with Hitler. This reached a (very negative) peak when Germany occupied Norway in 1940, and the author supported the occupiers. This massive film is a depiction of Hamsun's downfall. The years before WWII, the occupation, and the subsequent final years in disgrace.

The film is an international production, between Norway, Sweden, Denmark and Germany. It is directed by Swedish Jan Troell, and stars his oft-used actor Max von Sydow (also Swedish) as Hamsun, and Denmark's most famous actress Ghita Nørby as Marie Hamsun, the author's wife. The lead couple, who previously starred together in Bille August's "Den goda viljan" (1992), actually talk in their native languages, even though they play Norwegian characters. This is heavily audible for Scandinavian viewers, but you also get used to it really fast. Their acting abilities also make you want to let it slide. The rest of the cast is mostly Norwegian and German, depending on the characters they play. The film has an international feel to it, but the whole benefits from the larger budget, and the historical period looks believable.

Like so many great Scandinavian dramas, this is essentially a depiction of a troublesome marriage. It is Marie who first falls in love with Nazism, because it is shown to fill an emotional void in her life. When the traitorous Vidkun Quisling (played by the very evil-looking Sverre Anker Ousdal) finds out that his new fangirl is the wife of Norway's most famous writer, the Nazis take a quick interest in the man himself.

The film analyses the depth of the couple's guilt in a thorough manner. The running time of two and half hours allows us to go deep in their characters, which is of course supported by the intelligently structured screenplay and the fantastic performances. Max Von Sydow is fragile and tormented as Hamsun, a man past his prime who can't bring himself to act against the darkness that overcomes his nation. He struggles as he tries to believe that what he is doing is the right thing. This is one of the actor's finest performances outside of his Bergman roles. Ghita Nørby is likewise great as the manipulative Marie. The early scene where she works as her husband's translator and adds her own words to his, is possibly the best one to capsulate their complex relationship. The supportive cast is not fleshed out as well as the protagonists, but I did like the scene where Hamsun meets Adolf Hitler, played memorably by Ernst Jacobi. All in all, this is a fascinating account of history, a great character study and a nuanced drama.