Passioni proibite

Watching "All Things Fair" as it showed on TV here in Canada on CBC public network last night, was a treat. Only my sensible, nagging partner coaxing me to get to bed on a work night persuaded me we could trust the VCR to tape the last hour or so. Fortunately for his neck, the tape ran out during the closing credits and not before!

What I liked most about the film (with English subtitles) was the complexity of Sig's world and his relationships. It's a very real world feeling on screen, full of quirky believability, despite Sig's unusual arrangement with his teacher.

Though I know of a real life story resembling Sig's relationship with his teacher that went very differently for the teacher--ending in her virtual ruin--the behaviour of these film characters, the outcome and the aftermath, rings true nonetheless. No character is one-dimensional, even though the film schools us to sympathize with the choices of some and to repudiate others.

It's delightful to find in the credits that the director gave the plum lead role to his son. It takes an admirable trust, I think, to turn over a role like this to one's own young kin, complete with whatever there is in the script that MIGHT be autobiographical.

The female solo vocals in the soundtrack were wonderful. Now, I just need to found out who was singing like a bell whenever love or pain swelled in the story.

This is the life most men wish they had - an affair with their teacher. But all were not so pretty as the one in here. It's a coming of age story set in a time when men were going off to die in wars and those left behind were trying to make sense of it all in a society that was slowly crumbling. More complicated than now but still relevant in today's youth. All handled brilliantly by the Swedish director, Bo Widerberg, who loves to tell his tales in sensual lighting and locations. He sometimes tends to go soapy but held it in line for hi last work of art. Hewas to pass away a couple of years later. But he left us with another tender story for the soul.

"All Things Fair" is a strange kind of film because it is always transforming itself. While it always remains a coming-of-age film it ranges in its focus, touching on many different expressions. Obviously this makes it hard to categorise, hard to follow, hard to analyse, and all this seems to add up to a good thing. It starts out so luridly that I thought I was in for a Swedish version of "Private Lessons" but somehow it manages to continually evolve into something quite else. The changes in pace and locus give the narrative a certain elliptical feel which consolidate the nostalgic representation. Pretty good performances all round and some unexpected twists in the tale make it well worthwhile.

I caught this film on Canadian television, and I was startled by the risque content being broadcast on a non-pay station. This is a story of a growing adolescent boy in a war-torn Europe. The focus of the movie is in the complex relationships he holds with the people in his life. The controversial nature may deter the more conservative American; however, the characters are well-rounded and acted and the cinematography is superb. I have a feeling this director may be famous in his home country, there is a touch of epic brilliance in the movement of the scenes.

How much I regret the passing of director Bo Widerberg who can create a film such as this one with its dramatic portrayal of human problems, human relationships and human emotions. It was not so much the dialogue but more the unspoken words that grabbed my attention and held me to the end. A long silence can be filled with meaning....a stolen look, a fleeting glance, a flicker of a smile, a movement of the eye....all these subtle messages electrify the air between Viola the teacher and Stig the student in the class room. We know at once that in some magical way their lives have been drawn together and as we are caught up in the drama we seem to know that eventually the ending will not be a happy one.

Under the guise of having special coaching lessons, Stig gains entrance into his married teacher's household after his evening cinema job. Shy at first he soon experiences the delights of a continuing relationship with Viola who is a very competent teacher in all respects. Perhaps we can pardon Viola for her "cradle snatching" when we find out that her husband has taken to drink and seems almost permanently drunk.

The love scenes are sensitively handled and the remarkable changes which develop in the characters create an imposing piece of cinema. Stig seems to take on a degree of security in a scene where he accuses the husband of the impossible situation. But who is really to blame? That is the intriguing part of the film.

There are some aspects that are not explained thus the viewer becomes involved. As for the stolen encyclopaedia, why would Stig carry them off. Is he just in a vindictive mood and does it just to annoy Viola or have those volumes become special to him because they belonged to Viola.