Um Homem Um Tanto Gentil

This is definitely a different kind of movie. At first I couldn't quite swallow it. Like one of those wired Frennch delicacies that taste so unexpectedly you can't decide whether to chew on or drop them out of your mouth. Yet, if you resist a bit further for your mouth and brain to accommodate, you find that the experience was one so rich and subtle it lingers on your senses for days.

There's not the least bit of glamor or pretence in this movie. The plot seem to develop rather too slowly, the dialogues do not have the sparkle which tingles the intellect and makes you feel smarter, the people are not handsome but slightly old, worn out, ordinary people and the sex scenes are stripped of magic, eroticism and, well, desire. Nevertheless, behind it all there's this gentleness, humour and a kind of sadness almost heartbreaking. Each character has a history of abandonment, abuse, absence of love behind them, which sort of handicaps the way they connect to other people, makes their words and gestures rather abrupt, apparently lacking emotion. And there's this "gentle man", a former cold blooded murderer, who can see their despondency and incidentally tries to give them a bit of what they need. In doing so, he attempts to shut a door on his bleak past. And it's not because he wants to be a new better man, but because he can no longer be the man that he was. He simply needs to be the father and the lover he was refused for many years, he needs to have an ordinary life. "Spring is coming", his reply at the end of the movie, and the small contemplative smile it's a welcome addressed to a life of better choices and the relief after just killing the last "shadow" of his past. Now I can tell no more without spoiling the movie, but I highly recommend it. Also, I recommend that you be patient. Even if you can't enjoy it from the very first, see it through. It will worth your while. I give this movie a 9 out of 10.

A Somewhat Gentle Man (2010)

Norwegians, even more than Swedes or Danes (at least in their films) seem to be glum, dour sorts. And our leading man, a big Norseman (played by Swedish great Stellan Skarsgard) just out of jail after serving 12 years for murder, is unhappy. But now, getting a job as a mechanic and living in the basement of the mechanic's wife, he is surrounded by such an odd assortment of regular people, his colorfully mundane struggle to survive and get a little along the way is hilarious and moving.

It wouldn't be helpful to say exactly what happens--that he crosses up two women, that he tries to reunite with his son who's expecting a baby, that he has to "settle accounts" with some thugs who won't leave him alone. It's how these things happen, and who plays the characters, that makes this film really great fun. And expert fun. This is a tale well told, comic, patient, clever. The plot gets interwoven and impossible in a Shakespearean way (brought to a high pitch of plausible improbability by the delivery scene, you'll see), and so everything is tightly controlled. Even the music is a parody of itself, somehow, a light and spasmodic jazz funk score that helps make clear all of this is a little bit in fun, even when it gets awful in a couple parts.

The characters here are unpretty types, either homely or ravaged or just so maladjusted we see only their peculiarities. And that's a lot of the charm. There's no artificial glitz, no idealizing characters, no beauty on the side drawing the main character from the reality around him. You grow to identify with the people for who they are, and even though there is a comic airiness throughout, these people become very real, too. It's a delightful result, and I don't use the word delightful much any more. Don't miss it.

I consider myself a fan of Scandinavian crime thrillers, but those were shot primarily in Sweden or Denmark; I have not seen too many Norwegian films (however, the one before this, Hodejegerne, I enjoyed a lot), and I was prepared for slow pace and long frames without text, but still - I found the first half an hour or so too protracted. Thereafter, I probably got used to it and enjoyed this odd and hectic running of events, giftedly performed by catchy character actors - Stellan Skarsgård as Ulrik, above all (he should have been got more awards for this role), as well as all actresses regardless their duration on screen. I had no fits of laughter, but I giggled a lot and shared the feelings of peculiar sorts of people with different age and background. The scenes preceding the very ending could have been with more twists, but nevertheless, this film is recommended to admirers of films where all characters have issues.

Ulrik, a sort of taciturn middle aged man, is seen getting out of prison as the story begins. Having served time, he is facing an uncertain world. The former con wants to get away from his past life, but alas, his former boss, Rune, has a different idea, he wants Ulrik to take care of the man that was responsible for sending him to jail.

A newly released prisoner is not exactly what employers look forward to hire, but with a bit of influence from Rune, he is engaged as a auto mechanic in the shop run by a man that wants Ulrik to concentrate in fixing the problems brought to him, and do not get involved with Merete, the lady that takes care of the books in the office of the garage.

Rune is even able to get Ulrik a basement room with his sister, Karen Margarethe, a lady of uncertain age, who takes pity on the man. Karen starts by bringing Ulrik a second hand television set, as well as meals she prepares. The lodger finds a way to make the set to work, being able to catch a Polish broadcast of a program similar to 'Dancing With the Stars', something that hooks the landlady into coming to visit Ulrik with the meals she cooks for him. It does not take long before Karen Margarethe and Ulrik are copulating in his room.

When Ulrik's boss gets sick, he must be taken to a hospital. Merete also begin getting closer to Ulrik, who likes her as well. The ex-con is interested in renewing the relationship with his son, something that he misses. When Rune pressures Ulrik to get rid of the stool pigeon that fingered him, but Rune has a surprise for his former boss.

We were pleasantly surprised by this film when we saw it IFC recently. It takes the viewer a while to get into the picture, but Hans Peter Moland, its director, kept us involved in this tale about a man that wants to reintegrate into society, but his past life keeps getting in his way. The screenplay is Kim Fupz Aakeson. It is a dark film that works well because once one gets into the story, it is a joy ride until the ironic twist at the end.

Stellan Skarsgard, the Swedish actor, has never been better. His Ulrik is an amazing creation that deserves to be seen by serious movie fans. The supporting cast is wonderful. Bjorn Floberg, the amazing Jorunn Kjellsby as Karen Margarethe, and Jannike Krusse do a fantastic job for Mr. Moland.

It's amazing that even on a renowned Festival as the one in Berlin, there can be shown movies like this. It's not really something you (or in that case I) would expect to see there. Yes it has Stellan S., but the story as it is, is very bleak and humorous to say the least. A story that you would expect to pop up at other Festivals then. Especially with the crude humour, it's way of not pulling punches (but indeed delivering them) and characters that are way out there.

A few gross scenes, that are not necessarily violent, because sometimes even "romance" can be "brutal" to watch, as the viewers were moaning in a bad way at some scenes ... which you'll understand, once you watch the movie. Still very engaging and very well played. I liked it a lot.