Maria Larssons eviga ögonblick

The story of the life of a more or less normal family as told by one of its daughters. The most interesting families deliver the most interesting stories and this is one of them - especially by the way it is told and shown. A pivotal event in the life of the family is the day where the mother wins a camera and starts using it to make pictures of everything she deems interesting and/or important. The story is constantly told using back-flashes and this works very well - as events roll by the definition of the family is fully developed and as one gets to know more and more of the people in the family one starts to understand why some things are done the way they are done. With each passing year in the story the bonds become closer and the pictures become clearer.

It's a fairly long film but given all the things that happen that doesn't hurt the film at all. The color scheme used is very fitting and gives a nice extra effect, the choice of music is good too. Story telling is enticing and acting is well beyond the bare necessities to keep the film alive. So, all in all, a most enjoyable watch.

8 out of 10 mugshots of the past

The title of this film is particularly apt in light of what it presents and how it does so. Obviously every photograph is an everlasting moment in itself but in this film they are moments that represent a time and a place. Maria Larsson's pictures show the plight of the poor in early 20th century Sweden; the Red Rallies that were sweeping through Europe and the coming of war through to the restoring of peace. All these events and how they affect the ordinary people of her little town are recorded faithfully by this simple downtrodden housewife in between fending off her drunken husband's advances and raising the seven or so children that result. While there isn't so much a plot to 'Everlasting Moments' there is still an engaging story. It opens in 1907 when Maria discovers a camera she had won some years before and put away and forgotten about. Times are hard and her first thought is to sell it and she heads to the local photographic shop run by Sebastien Federson. He manages to persuade her to wait a while, to try and get some use of the camera first before she decides to get rid of it and pretty soon Maria is hooked on her new hobby. Meanwhile her husband Sigge flits from job to job and pub to pub and makes home-life more and more a living hell. Maria keeps her camera a secret from him for as long as she can and uses it as her only means of escape – she can't possibly leave her marriage, tearing asunder what God has joined together. While Sigge is all but openly unfaithful she herself has a chaste, platonic love with her mentor Sebastien. As Everlasting Moments takes you on its journey you just go with the flow, you forget that at some point this film is going to come to an end and in a way you don't really want it to. The acting all round is excellent and appropriately enough the photography is striking. The entire film looks like a faded photograph from the era, it's shot in colour but you have to regularly remind yourself of the fact by spotting something of colour in the scene. This just adds to the atmosphere, the feeling that you are not watching a film set in the early 1900s but in fact at a play - being performed in the early 1900s.

Based on the true story of working-class housewife and part-time photographer Maria Larsson, Jan Troell's film required financing from five different countries, and was almost five years in the making. When Maria Larsson (Maria Heiskanen) discovers a valuable camera in her home, she takes it to a pawn shop in order to raise some money when her husband Sigfrid (Mikael Persbrandt) loses his job. The shop owner Pedersen (Jesper Christensen) takes a special interest in the camera and shows Maria its sentimental value by demonstrating the way it manages to capture light in order to photograph an image. Having to care for her family while her abusive husband goes on strike at the shipyards, she finds solace in taking pictures as favours for the townspeople, and discovers she has a natural talent for capturing the true art of everyday life.

Filmed in grainy sepia, the cinematography manages to capture the feel of the 1900-era that we modern people see only through old photographs and silent films. It's an ingenious decision as the both looks beautiful, and helps transfer the viewer into a time that we can only experience through the work of people like Maria Larsson. Credit must go to Heiskanen who captures both the suffocating pressure of her characters situation, and her stiff-upper lipped determination and strength to maintain her love for photography that is opposed by her hard-drinking husband. Persbrandt is excellent too, helping develop Sigfrid as a fully-realised character, struggling with both the class situation and the influx of British workers that are taking the jobs while he and his co-workers strike and live in near-poverty. A beautiful film, sensitively handled by the director.

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I was reluctant to see Jan Troell's film for fear it might not be worthy of the experience of seeing his "The Emigrants"/"The New Land." Ordinarily, I'd rush to see something by any good director, but those two films were of such distinction, I hesitated.

Many of the same issues in "The Emigrants"/"The New Land" are here but we have it from the point of view of an artist and this film concentrates less on the art itself than the reason the artist needs to do it. It's a slight shift in focus than we usually get in biographies of artists, but it made this film something that's truer than, say, seeing Ed Harris ape Jackson Pollack dripping paint.

The rise of the middle class, WWI, labor unions, the demise of feudal monarchy, alcoholism, abortion, disability, codependency, feminism, and most importantly how industrial technology released the poor from dire existence to the opportunity (and leisure) of making art...and why that was important.

It's an ambitious film that feels as light as a shadow. While there is quite a bit of dialog, there's never any explanation despite extensive voice-over by a daughter of the subject of the film. We're shown why this woman needs to take photographs, and how she's introduced to it and the changes it brings lifts us up to the ecstasy she feels.

The circumstances of her marriage which is the primary focus of her suffering Troell renders with great sensitivity and understanding. The fact that the abusive husband, Mikael Persbrandt, almost steals the film is a testament to the compassion of the filmmaker.

But its the central character's actress, Maria Heiskanen, who takes a role that could have been maudlin and infuses it with a ferocious passion that stays in one's memory. No director could have wished for more in this performance.

Filmed in 16mm then transferred to 35mm, the passion of the main character for making images is clearly the director's own. One (of many) moments is so exquisite and complete: The lead character doesn't understand how photographs are made, and when she's shown with the image of a butterfly projected on her open hand, we're as astonished as she is.

That image is used again near the end of the film in a way that's masterful. I don't know if this movie is as good as "The Emigrants/New Land," but its worthy of the director who made that monumental work.

I recently saw this at the 2009 Palm Springs International Film Festival and it would be among my favorites of this years festival. Everlasting moments was Sweden's official entry for the 81st Academy Awards and although not nominated it did make the short list of nine and it was nominated for a Golden Globe Award for Best Foreign Language Film. Set in the port city of Malmo in Southern Sweden beginning in the year 1907 it tells the story of Maria Larsson (Maria Heiskanen) and her hard working dock worker husband Sigfrid (Mikael Persbrandt) who is abusive to Maria and battles the bottle and infidelity issues. Maria is a Finnish immigrant married to the Swedish Sigfrid and they have a rocky marriage but Sigfrid is a good provider when sober and they start a large family. Maria once won a camera in a lottery and is considering selling it when the Danish owner of a photography shop, Jesper (Sabastian Pederson) convinces her to use the camera and become an amateur photographer. It begins a long friendship between Jesper and Maria much to the chagrin of Sigfrid. The story is told in narrative by the Larsson's daughter Maja (Callin Ohrvall) as she remembers the hardships of life in early 20th century Sweden and the strengths of her mother that kept the family together. It's kind of reminiscent of the 40's film classic I Remember Mama. A wonderful story based on the remembrances of a real life Maja who lived from 1902 to 1991. From veteran director Jan Troell its a beautiful period piece with wonderful cinematography by Mischa Gaurjusjov and Troell himself. The attention to detail in reproducing the times is amazing from set designer Peter Bauman and costume designer Karen Gram. I would give this a 9.5 out of 10 and recommend it.