Kristin Lavransdatter

I loved this movie! It is so special, and you get the same feeling as if you were reading the book. 'Cause you have to read the book first, if you don't: rent another movie. I think Liv Ullmanns work with the

characters are great, especially the way she gets the love between Kristin and Erlend looking not klichè. I am so sorry for those who did not like this film. It either has to be something wrong with your braincells, or you just not have the gift of estetical sense. I mean: there is no such things as bad acting in this movie. It is so great, come on, come on, see it, see it now! Do it for yourselves, and do it for your heartless souls... :)

I always wondered if anyone could do justice to Undset's great trilogy.

Liv Uhlman brings us the flavor of medieval Norway, where Christianity still battles older forces and beliefs. She gives us a radiant but guilt-ridden Kristin not far off the mark from the character in Undset's books.

The architectural details, costumes and various artifacts around the farm seem just right for the era.

I felt disappointed when the film ended as I was eager to see the subsequent development of Kristin's character we see in the second and third volumes of Undset's trilogy. One can only hope that these, too, will come in time.

A vintage novel with a "national treasure" quality about it, and a movie version of it directed by Liv Ullman, Norway's passionate prodigy: Kristen Lavransdatter has an emblematic quality, like a national-theatre production attended by royalty.

Sadly, the production does not quite live up to its own image: the star-crossed lovers more closely resemble a pedophile and his prey, or a sleazy playboy and his schoolgirl pick-up, than a knight and his lady. The wild passion at the heart of the picture would be a fizzle at a Christian am-dram camp.

The big landowner, Kristen's dad, lives in a wretched shack with a couple of nags in the yard --- and his much older wife is nursing an age-old guilt, too. Basically, this whole tale is about guilt, which is a tedious theme, especially strung out for nearly three hours, and without even a few seconds of the forbidden sex being depicted, or skin being shown, which for a Scandinavian picture is, well, bewildering.

Liv dutifully delivers her central, as-it-were feminist message: that daughters should always be allowed to shag whomever they wish, wherever, and whenever they choose, and probably at just about any age.

Kristen fancied her childhood playmate, Arne, but was betrothed to Simon. A neighbour tries to rape her, but she dings him on the head with a heavy stone, deranging him sufficiently that in a rage he kills Arne. While attending a convent in Oslo (!) she takes a fancy to His Lordship, a rake who has wrecked the lives of many a dame, and is immediately hot to jump her. Ah, but he knows a trick or two with these schoolgirl virgins, and first lets her sleep the night in his lap while he strokes her hair ---- sure! After she's had a couple of lusty romps in the hay, Kristen may be racked by guilt, but she obeys her lust like a machine, and the devil take the hindmost. She's quite tickled when Mr Moneybags licks the hymen blood off her inner thigh, but that's it for the rampant sex as far as Ms. Ullman is concerned.

Perhaps the weirdest moment in this theatrical-type movie is when Kristen watches her lover kill his other mistress of ten years, mother of six of his children, then marries him and falls adoringly into his arms in her father's bed. That's carrying Stepfordism to the Nth degree, in my opinion, and for most people in the audience, I think, rips the heroine away from normal and into the world of freaky Manson-girls.

It's nice to know that the Norwegians treasure this picture, and believe its depiction of the medieval period, but out here in the wider world this film looks dated and Sunday schoolish. Even the art direction is overrated: the scenery is fairly impressive, but sparingly delivered, and the costumes out of a theatrical hire shop, and sometimes garishly coloured.

Above all, this is a film about sexual desire and longing and rampant fulfilment, and for Kristen Lavransdatter not to depict any sexual activity at all is bordering on the perverted. This is a curiosity that is better left to the Norwegian board of education.

Even though I did like this movie I do have to sympathize with those people who thought the film a bit long and boring. The shooting style is fairly straight forward, and there really aren't too many memorable dramatic shots, but overall it's technically a respectable film.

I think one of the things that holds back a better film, and I really hate myself for saying this because I usually say the opposite, is that the leads needed younger actors for the parts they were playing, and the narrative needed to be tightened up a bit.

The look of the film is okay, but I think a selection of longer lenses and a more static shooting style might have better sold the artistic period quality of the film. There's a couple of hand held shots that seem somewhat awkward and clumsy, and I didn't get too much romantic tension between the two leads.

Otherwise it's a very fine looking film, but it lacks a certain energy largely because of the kind of story that it is. Medieval romances typically conjure knights wining the hands of fair ladies with deeds brave and bold; read that as killing a few other knights in combat. But there isn't a whole lot of derring do on anybodies part. Oh well.

It's not a film I'd recommend unless you're into the medieval genre. And even then don't expect any sword play, nor much in the way of any plot as it's essentially the reflections of single woman up until her "big moments".

Still, there's a certain charm and a lot of production value in terms of sets, costumes and even locations went into the creation of this film. Again, if you're into the medieval genre, then maybe give it a glance for those qualities alone, but again it is a slower film.

See it once, and see what you think.

A beautifully directed, well acted, and consistently faithful adaptation of the first of Sigrid Undset's Nobel Prize-winning novels about her fourteenth-century fictitious heroine, Kristin Lavransdatter. The movie perfectly captures the genius of the novel(s), the external and internal drama of a young woman's struggle with pride and sin, her rebellion against the good and yet her longing for it. Kristin's religious milieu, sympathetically but not sentimentally portrayed in the movie, forms a powerful backdrop against which this drama plays out. My only regret is that they did not make sequels out of the second and third Lavransdatter novels to complete the trilogy, since, indeed, the ending of the movie and of the first novel leave you hungering for more.