L'eredità

I once asked myself that if I were able to work a hard 60 hour week, every week for five years straight, and be paid over $200,000.00 per year, but be able to leave after those 5 years a millionaire and be free do do the things I really wanted to do, would I do it? The proposition sounds enticing, but I soon began to realize that after 5 years, I will have been a changed person, stressed, unhappy, and the things that I really wanted to do at the beginning would no longer have any hold on me at the end of those 5 years.

This movie made me think of that. When Christopher takes over his father's business, he was a happy man, with the best of intentions. But as the years pass, work, prestige, money blinded him from being a good husband, father, brother, friend,...etc.. and his story is told very well by the filmmaker, very simple and straightforward, and the dramatic scenes with his wife, are very realistic and not written and acted merely for dramatic effect.

I give Christopher the "dope of the year" award for treating his wife Maria the way he did. She was a beautiful, loyal, passionate, and very understanding wife. How could he not see that? and you tell yourself it's only a movie, but then in real life, you see guys like that all the time, throwing away gems while searching for rocks.

Arven is a superb 'European' film. It is compelling viewing. It deals with a plethora of human issues and choices without

being sentimental or resorting to clichés. It is visually stunning. It is moving. The actors are convincing. We care about the characters. In fact, we really care! And I can only recommend it highly.

Christopher leads a peaceful life in Denmark along with his wife. He owns a restaurant and she's an actress. But their lives soon will change after the suicide of Christopher's father. He'll be forced to take charge of his father's business.

"Arven" is an intense and exceptional drama about giving' up on what we want, about that unmerciful and cold world of the big corporations. The moral is quite clear: what do you want money and power for if you lose everything you really love? Per Fly's style is serious and sober, he can't deny he's from northern Europe, 'cause in his cinema there's the same coldness than in Von Trier's or Bergman's.

*My rate: 8/10

"The Inheritance (Arven)" is the best look since "The Godfather" at the corrosive impact of family business where there's no boundaries between family and business.

The starting premise is strikingly similar to another Scandinavian drama, the Icelandic "The Storm (Hafið)," as in both we start off with a prodigal son happily and romantically involved abroad but forced back to deal with the patriarch's dramatic decision that has ever widening ramifications.

But whereas the first went off in psycho-sexual directions from a fishery, this Danish film stays realistically in the board room of a steel plant as much as the bed room.

Here, his wife is a Shakespearean actress and the Shakespearean references I caught are played up beyond "King Lear,"as the matriarch, a scarily formidable Ghita Nørby, whose role could be taken by Judi Dench or Glenn Close in an American remake, is a Lady MacBeth, and he's baited by a CFO with a pronounced Iago modus operandi, while the wife, the very moving Lisa Werlinder, is left to plead like Portia in "Julius Caeser."

Un-Hamlet-like, Ulrich Thomsen's manipulatable Christoffer plunges into decisions that succeed at high psychological prices for him and those around him, reminding me of the classic closing line of the adaptation of Henry James, "The Heiress": "I've learned from masters."

Writer/director Per Fly is a strong filmmaker from Denmark who is unafraid to make controversial statements that challenge certain 'family values' sentiments prevalent in this country. In this brilliantly written, directed and acted film he manages to reveal the inner destruction of a family under whose surface is an institution of envy. It is a riveting film that despite its in excess of two-hour length keeps us riveted to our seats in its never-ending exploration of the darker side of familial machinations.

Christoffer (Ulrich Thomsen) has escaped his Danish family and is comfortably ensconced in Stockholm as a successful restaurateur, living with the beautiful actress Maria (Lisa Werlinder) whose love for life extends beyond the fulfilling pleasures of the boudoir. Their bliss is interrupted by an unexpected visit from Chrisoffer's father who briefly spends time with the couple, happy for their state of success in all things. Upon his departure Christoffer receives a phone call that his father has hung himself and his presence is demanded in Denmark. Christoffer and Maria fly home to the matriarch of the family, Christoffer's mother Anneliese (the brilliant Ghita Norby) who immediately takes charge of the family, demands that Christoffer take over the failing family steel company thus skipping over Christoffer's designated brother-in-law Ulrick (Lars Brygmann), a fact that tears at Christoffer's sister Benedikte (Karina Skands). Taking the position of head of the family business would mean his giving up his dreams in Stockholm, negate Maria's burgeoning acting career, and placing Christoffer in the ominous position of having to fire longtime employees and make changes that would decimate many - not the least of which would be Christoffer's character. But Anneliese is strong and gets her way and thus the destruction of Christoffer's humanity and life begins.

Christoffer is able to merge the company with a French company and make the family business successful. But at what a cost? Maria leaves him after they have a child, Benedikte collides with him over his ruining her life with Ulrick, and Christoffer moves to France where he drowns his sorrows in alcohol. Per Fly is not one to tidy up all of the loose ends of a family disintegration: he leaves the end results of a bad decision up to the audience to figure out. It is this respect for the audience that endears this artist to us. The script is brilliantly written, the acting is superb, and the direction is tight and sensitive to the storyline. In every way this is a film worthy of our attention, not only as an art piece, but also as a means of re-examining 'family values' that here are presented in quite a different light than our usual reference phrase suggests. Highly recommended. Grady Harp