Flame & Citron - Os Resistentes

Flame and Citron (2008)

An intensely intense film. It has great intentions, and the protagonists go around shooting Danish Nazi types in the head, which was probably a pretty good things to do during the war, at least in movie terms. It's gritty and moody, it has tension and good music and great dramatic filming (the light and the camera-work are both very clean and yet provocative).

But this cinematic prowess gets in the way of the movie a little, and the plot is slow enough that you begin to watch the surfaces of things as you go. In fact, some of the scenes (eating around large tables, meeting in broad, gloomy, almost beautiful basements) are just too pretty to support the ugly events at hand. Or so it seems. It's a vivid film, and unique, and it is a must see for World War II film buffs, just because it's so honest and so different. There are not that many Danish films about the war to start with, compared to British and American (and German) efforts.

This one is very bloody, and ruthless in both its actions and in the telling of them. Kudos for that, but warnings, too. As pretty as the filming is, it isn't always easy to watch. But that's part of the point, getting to what rises above the mere action--is it okay to kill bad people without a trial, without warning, without knowing even if they are bad at all. What is okay in war? What do we come to justify later, or at the time?

This film about the Danish resistance reminded me an awful lot of Jean-Pierre Melville's brilliant film "L'armée des Ombres" (Army of Shadows), as both were true stories about the resistance to Nazi occupation and were great because they were well acted and without a lot of frills. Good, crisp direction, exceptional tension and excellence throughout--that's how I'd describe both films.

The title of the film comes from nicknames given to two famous resistance fighters who specialized in assassinations--mostly of Danish collaborators but also, occasionally, Nazis. What made this all so interesting is that after a while, it really became uncertain whether the two were actually now killing the good guys instead of the bad. Who was an informer and who really deserved to die was tough for the audience to figure out--and it was also quite difficult for Flame and Citron. I liked this vague aspect of the film--as war isn't always 100% cut and dry.

Overall, I have no negative comments about the film. It was exceptionally well made but unfortunately practically none of my fellow Americans will ever see the film, as sadly, most feel that it's too much trouble reading subtitles and would rather see a remake of "Friday 13th part 178"!! As for me, it just confirmed that the Danes have made some exciting films--such as "The Celebration" and "Babette's Feast"--and the Danish-Swedish co-production "Evil".

I don't know what to say about this movie. Original setting for many of us, Flame & Citron is based on the lives of two resistance fighters/assassins ("Citron & Flame") in occupied Denmark back in World War Two. The premise is that our leads are on order to do their killings but their own aim is to kill the leader of the local Gestapo unit. However, realpolitik, double crossing, self-preservation and a femme fatale all just get in the way of everything, so our lead duo have no option but to battle as much with their own as with the occupiers. Personal relationship problems for our duo helps to keep the film human, and the story never glamorises the pair, and in many ways does show them to be quite amateurish despite their legendary status even showing their botched jobs.

So how does it all go? Well, it's not an easy one to follow. Many a time not sure what to make of the storyline if we were to really learn much. The whole realpolitik aspect of the piece never seems to resolve and with so many sides in this film, it's hard to keep up. In fairness, that was likely the main point showing the true difficulty of war, as each group seems to play off of each other for their own ends, whatever they may be. This is a weakness overall, and with its length quite tiresome.

Acting in general is faultless and beautiful shots of the Scandanavian countryside plus panoramic views of the cities are great on the eye, but some bad camera work at times is just really amateurish and spoils things.

Overall a good film that is interesting and a new-ish angle for WW2 films. Some very good points and most will like it, but not as special as it possibly could have been.

British film buffs are often critical of Americans for their supposed indifference to foreign-language moves, but there are signs that the transatlantic phobia about subtitles has now spread to our own shores. Films from continental Europe were once fairly common on British television, but they have now all but disappeared from terrestrial channels, and even on specialist movie channels like Sky Movies, TCM and Film 4 they are few and far between.

BBC4 is something of an exception. Following "The Killing" and "Borgen" that channel is currently having a love-affair with all things Danish, and it was there that I recently caught "Flame & Citron". It is said to be one of the most expensive Danish language movies ever, although the budget was only around six million pounds, peanuts by Hollywood standards. (Most Hollywood producers these days would pay out considerably more than that figure to meet the salary demands of just one of their film's stars). It is loosely based on actual events and deals with the Danish resistance movement during the latter part of World War II. The title refers to the code names of two members of the Holger Danske resistance group, Bent Faurschou-Hviid (known as Flame because of his red hair) and Jørgen Haagen Schmith (known as Citron, Danish for lemon, because he once worked for the Citroen car company).

The film opens in 1943 when the tide of war is starting to turn against Germany, Hitherto the Resistance has largely confined itself to sabotage and assassinations of Danish collaborators. Flame and Citron now receive instructions from their controller, Aksel Winther, to pursue a campaign of attacks against the Nazi occupiers themselves, something the Resistance has previously avoided.

Films about European Resistance movements made during the war or in the years immediately following it invariably had a simple moral structure. (I cannot recall any such movies actually set in Denmark, but there were numerous examples about other occupied countries, such as "The Day Will Dawn" and "The Heroes of Telemark", both about Norway, "One of Our Aircraft is Missing" about the Netherlands and "The Guns of Navarone" about Greece). The Resistance fighters are invariably shown as unambiguously heroic, as are their British or American allies, the Germans are unambiguously evil, and the local collaborators totally despicable. The film generally ends with our heroes having successfully performed some gallant feat of arms which will render invaluable assistance to the Allied war effort.

"Flame and Citron" is quite different. Despite its World War Two setting, it bears more resemblance to a modern spy movie or to a neo- noir crime drama than a traditional "heroic Resistance" film. One might call it, on the analogy of the revisionist Western, a revisionist Resistance drama. There are no British or American commandos on hand to lend assistance. The attacks which Bent and Jørgen carry out are only of doubtful value to the overall Allied cause. Most importantly, the moral boundaries are more blurred. Flame and Citron suffer pangs of conscience over the killings they carry out and never know whom they can trust. Is Winther in league with the Germans, or is he in fact pursuing his own personal agenda by settling private scores? Is Ketty, the glamorous woman with whom Flame falls in love, actually a double agent? Will the attacks on the Germans contribute to the liberation of Denmark, or will they simply provoke German reprisals against Danish civilians? Are the Germans in fact all villains? One high-ranking German officer claims to be part of his country's own anti-Nazi movement, and even if he is lying this claim does at least draw attention to the fact that by no means all Germans were pro-Hitler.

The atmosphere of the film is, despite occasional action sequences, subdued, with a muted colour scheme, symbolic of the dark shadows which Nazi rule had cast over occupied Europe. Although it does, I think, finally reach the conclusion that the Resistance effort was worthwhile in that the self-sacrifice involved played a vital role in enabling Denmark to preserve its sense of national honour, it does at least dramatise some of the moral dilemmas involved in active resistance to a brutal occupying force. Modern dramas from continental Europe about the war are not particularly common, but this is one well worth watching. 7/10

FLAMMEN & CITRONEN (FLAME AND CITRON) is a dark long film that will prove to enlighten many about another aspect of WW II we know very little. Written (with Lars Andersen) and directed by Ole Christian Madsen it unfolds a true story about two 'heroes' of the Holger Danske resistance moment, a large group of Danish citizens who fought to kill not only the Nazi invaders but also the Danish supporters of Hitler's movement: the heroes are Flame (Thure Lindhardt) and Citron (Mads Mikkelsen) and the course of their lives is traced with brilliant use of sound, cinematography, a pervading darkness which serves the story well, and attention to minute details that makes the viewer almost involuntarily involved with their mission, their plight and the final results of their work.

In addition to the outstanding performances of Lindhardt and Mikkelsen, there are excellent performances by Christian Berkel as Hoffman, leader of the Gestapo, Stine Stengade as the puzzling spy/counterspy/ love interest Ketty Selmer, and a cast of bit players that remain in mind's eye long after the film is over. Though produced as an epic (and the film is a very very long 130 minutes!) the interaction between the lead characters is clearly defined and they come across as credible resistance fighters whose plight is always one of duress and fear.

As in all stories about war that are honest, there is no clear line between right and wrong, between survival and heroism, and it is to Madsen's credit that he keeps us in the shadows with every encounter. War is war and it alters everyone who is touched by it.

Grady Harp