Till det som är vackert

What would you do to get out of the guat (thanks John Hughes) you find yourself in? This is the central question posed by our protagonist played by Alicia Vikander in an early role before embarking into Hollywood superstardom. In a story w/echoes of the Dardennes' Rosetta, we have a woman whose found her calling in life but due to a mistake in judgment, she'll do anything to keep her station. At once harrowing, traumatic but ultimately uplifting, Pure's heroine gets her due but at what cost?

Music can change your life.

Everyone has experienced this at one time or other and this is the heart of Pure.

In this edgy immensely engaging drama a working-class girl with a borderline personality finds her life's passion in classical music.

The story is not what you could call enticing however the film is a triumph. Next to more prestigious and lauded films, such as Black Swan and Fish Tank, Pure is hands down the easy winner in terms of acting, directing and all round film-making. Alicia Vikander is now breaking out internationally as an actress in Anna Karenina and Royal Affair but once you see this film it is no surprise, she is heart-breaking and awesome in this.

I actually applauded in the screening I saw, this was during the film because of a plot twist and reflected the quality of the film and the brilliance of the script.

Catch this underrated gem as soon as you get the chance. Ken Loach should be worried, there's a new kid on the block and her name is Lisa Langseth.

Well, the script might raise some questions at some points but this doesn't really matter. The intensity, the power and credibility of Alicia Vikanders' performance in this movie blows away the story lines. The sober direction of the movie underlines her performance. One of the best performances I've seen in the last years.

The script is touching many subjects such as poverty, coming-to-age and gender issues, without digging deep in any of them. It is the acting which gives the depth of the emotion to this movie. When she is asked to dance in front of the conductor in a most humiliating way, the scene is so painful that the buildup to the climax feels almost logical emotionally. This is not about ethics, but during the movie, you get dragged into the wild emotions of Katarina. And this is to me the essence of the movie: a young wild women fighting her way through a very troubled life. I don't think the director intends to ask our approval or even sympathy, but wants us to take a journey on the emotional roller-coaster of Katarina, so brilliantly performed by Alicia Vikander. Simply breathtaking.

Awful film - not one star only, because of some good acting and some good cinematography! Artsy-fartsy story about classical music and poetry as well as (the film-makers want us to think) love. A conductor has an affair with a 31-year-old younger receptionist, and they actually want us to think that it's romantic and beautiful. When he talks about music, art or literature, it's nothing less than ridiculous. I'm a musician myself, and if I ever worked with a conductor, speaking such nonsense, I made sure that either he or I quit the job. I don't know towards what kind of audience this picture is directed, but it certainly won't satisfy people who know anything about art or classical music, and is very unlikely to convince viewers who don't - unless they pretend that they do. I'm afraid, there's plenty of those, since the film was quite a success.

PURE ('Till det som är vackert') is a stunning little film from Sweden written and directed by newcomer Lisa Langseth. It is currently in the 'on demand' section of Eurocinema on television and will likely be released on a USA format DVD soon. The film embraces many subjects - coming of age, the impact of classical music on young minds, affaires de coeur, philosophy, the politics of concert halls, mother daughter relationships scarred by mental illness - and in the end succeeds in dealing with some ethical questions.

Katarina (Alicia Vikander, a brilliant, young, fresh 22 year old Swedish actress) lives in poverty with her boyfriend Mattias (Martin Wallström, a handsome, sensitive blue-eyed actor) in an unkempt apartment where Mattias spends his days watching television while Katarina seeks meaning to her grungy life on the streets as a prostitute. Her family is in disarray - her mother Birgitta (Josephine Bauer) is an alcoholic and a mentally ill wasted person - and Katarina is discontent. By chance she hears some Mozart played on the YouTube and has an epiphany moment. She has been a driven, hurt and hopeful soul, but Hearing Mozart somehow changes that. The music draws her to the Gothenburg Symphony Concert Hall where because of some free tickets she and Mattias hear a performance of the Mozart Requiem as conducted by Adam (Samuel Fröler): the experience bores Mattias but transforms Katarina. The concert hall becomes a magnet for Katarina and as she sneaks into the hall for a rehearsal of the Beethoven 3rd she is mistakenly identified by receptionist Nya (Isabella Bauer) as a potential candidate for job in the hall. Katarina's apparent love for music and her openness gain her the position of Concert Hall receptionist: she has escaped her dreary life and is surrounded by classical music. Gradually Katarina meets and becomes friends with Adam who finds her refreshing and in addition to talking about music he introduces her to great literature and philosophy. The bond grows and Katarina and Adam have an affair, a relationship that is transient because Adam is married. When Adam shares with Katarina that the affair must not go on, Katarina is crushed, and because of the fear Adam holds about her omnipresence in the concert hall, he has her fired. The manner in which this abrupt change in Katarina's transformed new life progresses echoes one of the phrases of Kierkegaard the Adam taught her - "Courage is life's only measure' - and the story takes surprising turns and an even more surprising end.

Much of the success of the film is due to the extraordinary acting by Alicia Vikander, a young talent who seems wise beyond her years as far as intuitive acting skills. The musical score is attributed to Per-Erik Winberg, though the music throughout the film is Beethoven, Mozart, Bach and Massenet. In addition to the story being well written and directed and performed, there is a secondary message for the audience: the introduction to classical music and to cultural concepts can change lives of young people if they gain exposure. It is a challenge we should attempt of provide.

Grady Harp