Instants éternels

Maria Larssons eviga ögonblick (2008), directed by Jan Troell, is showing in the U.S. with the title "Everlasting Moments." It's an unusual movie, and I enjoyed it, but it's hard to describe or review.

The film takes place in Sweden, roughly between 1900 and 1920. It's more or less an "I Remember Mama"-type memoir, narrated by the oldest daughter of a married working-class couple--Maria Larsson, played by Maria Heiskanen, and Sigfrid Larsson, played by Mikael Persbrandt.

Maria Heiskanen is a very attractive actor, but this part calls for her to appear relatively plain, which she manages to accomplish. (Sort of like Betsy Blair appearing as "the dog" in "Marty.") Her husband is a basically decent sort of guy, who was considered a good catch when they married. Unfortunately, he's a mean drunk and, even when sober, he's not always the best of spouses.

What makes Maria different is that she has won a camera in a lottery, and her ability to take photographs moves the plot forward, insofar as it moves forward at all.

The film more or less meanders along, with episodes that appear realistic enough, but that don't always seem to be heading in a clear direction from beginning to middle to end. Time moves forward, and people--and the actors who portray them--get older, but the movie doesn't unfold in an "A therefore B, B therefore C" sort of way.

This is a movie to watch if you don't demand sex or action, if you don't mind a slow pace, and if you don't mind a movie that appears to be shot more in sepia than in true color. I enjoy that kind of film, so I liked "Everlasting Moments." If your tastes don't run along those lines, I'd pass it by.

Incidentally, we saw the film in a theater, but I think it would work well on a small screen.

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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Jan Troell is the nestor in Swedish movies. He's got more than 40 years of experience. And you're aware of it here. Not a second too much in any scene. A total concentration in every millimeter.

It all takes place in Malmö, a city in southern Sweden, in the beginning of the 20th century. A worker with drinking and infidelity problems is married to this woman and they have plenty of children. It's a life of misery, but suddenly a new world opens to the woman. The world of photography. Another way of viewing.

After that nothing can really harm her. Not even the violence from her husband. Every detail is there it should be in this movie. Every button is at the right place in every suit, and it's also obvious for the audience what the director means by it.

To be shown at any film rookie school.

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.

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