Brothers

It's rare to find a movie with a meaningful, political context that is also good drama. Brødre / Brothers has two interwoven story lines: one about the relationship between two brothers, the other about the difference between comfortable Western civilizations sending out soldiers to various missions and the actual war zones. These stories mirror each other and both brothers change roles during the movie: One starts in prison, the other ends up there; one is a family man; the other takes over this role after his brother's death. There is a nice ending, but I find that the only element not fitting the overall structure.

I like this also because it is well edited. Synchronization of images is used to tell the story of Michael in Afghanistan and Sarah in Denmark. Frequently a shot of Afghanistan is shown and directly followed by the same shot in Denmark: looking at a road, from a bus or car, etc.

Initially rhythm is established through a central 'Afghan' theme song. Once the characters are established in our minds, the acting takes over. I'm still wondering why Danish actors (and Scandinavian actors in general) are so good in what they do: Is that a compulsory subject in primary school there because even the children act so unbelievably natural.

The ethical dilemmas facing soldiers are well presented. Michael first has to demonstrate how a launcher works, knowing it will be used against his own people. Then comes the ultimate decision. The traumas he faces are real and reminded me of actual, similar stories of soldiers returning from Bosnia, Afghanistan or Iraq.

Susanne Bier has come out of the Dogme-movement as one of the better directors. In a world with not that many (talented) female directors she is someone to be cherished.

Brothers (2004)

A remarkable movie in several ways. The first is just that it's well made, with two main layers of story line that are compelling, and some surprising and mostly believable turns. The second is that we (in the U.S.) have a look at the war in Afghanistan from non-American eyes. The echoes are inevitable, and so are the differences, in attitude by the soldiers and in public reaction.

The lead actor Ulrich Thomsen is compelling and versatile, and in some ways makes the movie. His range (which you have to see for yourself or you'll be tipped off) is terrific. His wife, played by better known Connie Nielsen (in her first Danish movie, even though she is Danish herself, and knows seven languages) is perfect, too, though she plays someone who is admittedly "boring" and so has less range. Finally, the lead man's brother, Nikolaj Lie Kaas, is charming and a wild card, making the trio appropriately imbalanced.

I say all this because it's an acting movie, and a movie about relationships and therefore about plot. It's not a war movie, but more about the effects of war. It's recommended for people who have absorbed American movies like The Hurt Locker. But more than that, it's just a well made, emotional, human interest film. There are a couple flaws (including the key part about the helicopter crash, which just doesn't hold up to common sense), but they are small in the larger, gritty realism of the whole.

The family man Major Michael Lundberg (Ulrich Thomsen) is happily married with his beloved Sarah (Connie Nielsen) and adores his two daughters Natalia (Sarah Juel Werner) and Camilla (Rebecca Løgstrup Soltau). His younger brother Jannik (Nikolaj Lie Kaas) has just left prison on probation for bank robbery and has issues with his father Henning (Bent Mejding). Michael invites Jannik to have dinner at home with their family. When Michael arrives in Afghanistan, his helicopter crashes and he is considered missing in action. However, he is captured and sent to a camp where he meets the radar technician Niels Peter (Paw Henriksen). After a long period imprisoned, Micahel is forced to kill Niels with a bar to survive. Meanwhile Jannick comforts Sarah and the children and he becomes close to Michael's family. When Michael is rescued, he comes back home emotionally detached and paranoid. Further, he is convinced that Sarah and Jannik have slept together during his absence. When the envious Natalia lies during the birthday dinner party of her sister telling that her mother and Jannik had shagged to upset her father, the disturbed Michael triggers an intense paranoia jeopardizing his family.

"Brødre" is a powerful and realistic drama about lives destroyed by war. This film is extremely well-acted, with an adequate cast that gives credibility to the plot led by the gorgeous and excellent Connie Nielsen. The sensitive director Susanne Bier of "Efter Brylluppet" makes another extraordinary movie based on the family dynamics. Jim Sheridan remade this film in 2009, but in a shallow teen "americanization" version. My vote is nine.

Title (Brazil): "Brothers"

Best picture we've seen in 2005. Why can't Hollywood make movies like this any more? Great cast, great direction, dialogue perfectly written comes through with power even in Danish with English subtitles! Connie Nielsen is in a league with Myrl Streep as an actress. The portrayal of the rough and tumble relationship of the brothers is so real it seems alive. Make sure you see this movie either in the theatres or on DVD. Nielsen is gorgeous but realistically portrays a housewife. The parents are classic Scandinavians, stolid and down to earth. Two little girls are played with zest and great energy. And the brothers, are quite believable as brothers. If you are interested in serious cinema and grown up movies "Brothers" should be on your list.

It's not hard to classify this one--it's an intense psychological drama. Whatever mood you were in before you started, you are most likely to be in a somber mood at the end. Perhaps the less you know about the story the more it will involve you. This is one of those movies that makes you ask the questions, "What would I have done in that situation," and "How would I have lived with my decision."

The main thrust of the story is an intimate examination of how a tragedy affects family dynamics. Nature abhors a vacuum. Guilt, jealousy, and doubt drive this to an intense climax.

Parformances are first rate, particularly Connie Nielsen.