Revenge

This movie is a far more direct and disturbing probe into some of our more troubling inclinations than anything I've seen since becoming a fan of Lars von Trier's movies. The topic here is vengeance and its consequences, more or less. I was a little surprised to find it had been directed by a woman, Susanne Bier. I've always thought women would be good at this kind of near melodrama but have never actually seen one tackle such a project, to my knowledge. The story centers around two boys and their developing reaction to first school house bullying, but then a much more serious instance of it in their home life. The acting is beautifully done and none of the leads seem to have held back in the slightest. One dad is a doctor who, it appears, donates his services to a part of Africa wrought with violence. Despite his obvious good nature, he and his wife, also a doctor, are having problems.

It's unusual in my experience to have a woman show just how much more selfless a man might be than his wife, but that is exactly what is done here. And it's quite refreshing. But the sweep and breadth of this movie is quite satisfying on its own, spanning from Africa to modern day Denmark. This is a trip I wouldn't hesitate recommending to anyone.

Each with a young son who is being severely bullied at school. The idea of bullying is the point of departure for a look at related issues, especially the idea of revenge. The original Danish title was actually that single word---revenge. It was changed (the new title is somewhat of a stub ) for the International release, probably for the better, at least for the USA since the original title would probably conjure the notion of an action film with a minimum of delicacy instead of what it is, a rather heavy-hitting soap opera that deals with the inevitable emotional upheaval with a modicum of nuance here and there.

The movie asks how does one handle this sort of humiliating experience. This theme is enlarged by the fact that one of the fathers is a doctor who treats patients at a Sudanese refugee camp and has to deal with roving warlords. Back home this father makes what what comes across as a wise decision in turning the other cheek when he himself is bullied and lightly pushed around by a neighbor mainly because the offense was relatively light weight but could have escalated into something of a serious and perhaps far-reaching consequence.

So what do you do when such discretion is lost on your 10-year-old son who thinks you're a coward and calls you a wimp? The teleplay makes clear that domestic corporal punishment or no dessert for a week is not the answer, it wants to mean business and point to a more non-visceral response. This episode is thematically important and hits home with its direct simplicity and urgency but is subservient in scope to what these two young boys are up to.

There is backstory where a mother has died of cancer in one family, and a separation is in progress in the other, both that take a toll on the two young boys. Danish actress Trine Dyrholm pulls off an incredibly charged scene where she stumbles upon the neighboring boy in the hall of a hospital towards whom she has an uncontrollable and justifiable anger when she suddenly realizes that she is talking to a child, a child the same age as her own. The struggle in betraying a sudden compassion in such a circumstance is extraordinary.

Wisely, the teleplay imposes an interruption to the scene, otherwise the whole thing might have been ruined by either over sentimentality or rank incredulity. As is, it is terrific and I still have not been able to quite get it out of my mind.

Saw this in Toronto and it remained with me for days afterward. Shattering filmmaking! The size and elegance of a Hollywood big budget, with the honesty and challenge of an indy. The performances, especially those of the two boys, are riveting, but I was also impressed with the deep focus photography, the haunting score. Went to see this because I had so enjoyed After the Wedding - but feel this is even better. Only the ending conflict resolution is, perhaps, a little too easy-- but not unearned. And oh boy, was I grateful for it. I want to see this with my son, because I want him to experience the moral and emotional snake pit Bier and her screenwriter toss us into: every guy --no matter what age-- will get it, and none of us will like it very much. To me, Bier speaks about what it SHOULD mean to be a man. Is vengeance built into our genes? I hope not. And I hope this wins the Academy Award this year, and everybody in America goes to see it.

Like anything, people will offer their own view of things. This is my own.

There are many films out there that focus on bullying and its effect on the children that experience it. A few will go further to picture the consequences to those children as they become adults, some of whom will never overcome that.

But it was the first time, from my perspective, that a film ventures to show bullying by an adult. As the stories (in Africa and in Denmark) run in parallel, it makes one wonder what the child bully would become if he were not stopped.

Brilliantly told, it left me with a sense that in our days we are still not taking bullying as seriously as we should. So how can the bullies ?

After his mother's death, Christian moves once again, and starts in a new school. He meets Elias, and defends him against bullies. The latter's father works as a doctor in Africa, with a sadistic crime lord nearby. And so we have the setting for a drama exploring revenge, as well as power struggles, loss and fear. The overall moral isn't going to surprise anyone(and it isn't entirely consistent), and this does occasionally stoop to a cliché. However, it remains a gripping and effective film, and it manages to interject a lot of insight and truth, seeing situations from multiple different perspectives. This is the second movie by Bier that I watch, and I am confirmed in my assertion that Things We Lost in The Fire was a fluke, and not representative of her level of talent(it should be noted that the main problem with that one was the script, and she had nothing to do with that). She abandons the eyeball shots, and there is much rejoicing. The camera is close at times, though no longer oppressively so. This has a cinematography similar to the show NCIS, with hand-held cameras. I didn't feel like the nature footage added anything, at least not that of Denmark. The editing puts you right there, without being annoying or particularly drawing attention to itself. This is written by the man behind Den Du Frygter, Mørke and Blinkende Lygter(and other famous ones, but those are the ones I've seen and liked), and his skill and credible, human characters(that are the focus) shines through. Everything is set up, and most of it pays off. The acting is excellent, without exception, the kids especially. Our half-way orphaned lead captures every look and movement to perfection, and they really did find someone who could be Thomsen's son. Bodnia returns to a typecast role for him, and delivers. The vast majority of the humor works, and nearly none of it detracts from the serious and important subject. Everyone can recognize the little brother in someone they do or have known. The music is appropriate and not distracting. Dialog is great. No soap opera moments, it all comes across as entirely genuine, and nothing comes out of the blue. The tone is mature and honest; we don't feel preached to, or lectured, this respects its audience and honestly understands what it has to say, it isn't merely repeating a mantra. There is gore(think ER) and disturbing content in this. I recommend it to anyone that this at all appeals to. 8/10