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However, BBB does not verify the accuracy of information provided by third parties, and does not guarantee the accuracy of any information in Business Profiles. We don't have dip pens much any more, but they do still exist and have their use. Many still use so-called "outmoded" but artistically valid technologies. We still have fountain pens.
We still need pencils. And so it is, very often, with styles: when new ones come along, they don't necessarily render earlier ones useless. Photography has not wiped out painting. Non-objective painting has not wiped out magic realism. Rap hasn't eliminated pretty tunes. The same is true for movies. Old-fashioned ones still have their place. But with the arts, if you're going to be retro, you have to prove you had a good reason for it.
Both are new movies that are traditional in their look, outlook, pace, and subject matter. The massacre of Polish officers by Russians in WWII and the attempt to blame it all on the Germans is history that needed to be told; it's the history of Wajda's own father, one of the slaughtered officers.
Troell's film, concerning a working class Swedish family early in the last century, isn't quite as essential. Its Hallmark-sounding title is a hint that it's more nostalgia than history, and the story it tells, of a boorish husband and a wife struggling for independence, is in some ways only marginally memorable. It presents the atrocity before, during, and after through families and individuals.
It depicts how people risked torture or extermination to resist the cover-up, and it ends with devastating simplicity by re-staging how the killing was done, very specifically what it looked and sounded like.
Not much in 'Katyn' either in content or style seems distinctly 21st-century. Except for one thing: this story hasn't been told before. Now it has been, and beautifully. And since it concerns events of sixty years ago, an old-fashioned style is appropriate to it, as well as being a style of which Wajda is a master. The film may seem retro and boring to young viewers.
Their cry, and others', sometimes is that WWII, especially the Holocaust which perhaps by association links in with other massacres of the War , has been "done to death.
But that is really nonsense. Some subjects are never sufficiently examined and can never be overdone, as long as an artist with a fresh angle "does" it. It's valid however, to say that Jan Troell's earlier period family sagas were richer and more involving than his new 'Everlasting Moments. But the interest of the film isn't so much in the small-town working-class family, the seven kids, the big womanizing drunkard father.
It's in the interface between the wife, Maria Larsson Maria Heiskanen and the film's style. And this is where the film gradually but amply justifies itself. Heiskanen's face, often and lovingly filmed in closeup, is more memorable than any of the faces in 'Katyn. Early photographic equipment isn't as handy as today's, but that doesn't mean the photographs were inferior aesthetically.
Maria, wife of the cheery, powerful, but dangerous Sigge Mikael Persbrandt , marries him owning a valuable camera she's won in a lottery. When things get tough, she decides to sell it. This leads her to go to Sebastian Pedersen Jesper Christensen , a photographer with a shop, who refuses to let her sell it and instead takes her under his wing and falls quietly in love with her. Throughout the film and Sigge's skullduggeries and the family's economic travails, Maria uses the camera with increasing artistry.
Along with this, the sweet platonic love affair with Sebastian continues, and he woos her with equipment, paper, plates, and lessons in developing photographs. The film is a celebration of the addictiveness of photography and the magic that happens in the darkroom. Alas for digital camera users, to have lost that alchemical mystery! The relationship between Maria and Sebastian would be worth a subtler, richer film by itself.
But Troell likes family sagas. And history and sociology call upon him to focus on Sigge and the seven children. Unfortunately, though the film is narrated by eldest daughter Maja Callin Ohrvall and that adds logic to the focus on the mother, few of the other children are well individualized. The film is somewhat at cross purposes this way, with its unique story about a woman artist who's also a passionately dedicated mother constantly interrupted by its lumbering family history.
But that was also Maria's life. Unlike other Troell films, this feels sometimes too long, sometimes too short. But despite the conventional, old fashioned film-making or perhaps because of it, the photographic story and the counterpoint in the film's own on screen images, 'Everlasting Moments' more than justifies its existence. Perhaps not as historically essential as Wajda's 'Karyn,' for many of us, and particularly for a lover of still photography and darkroom magic like myself, Troell's film, whether "essential" or not, winds up being more emotionally involving.
This movie was an enjoyable surprise to me, really worth watching. I don't speak Swedish or know of the director. It's set in Sweden back in the day, before and during WW I, and it follows the life of this Wife and Mother, and her family. This woman is a rock, and she's the soul and center of this story. She's got hardships out the wazoo, mainly an ever-growing number of mouths to feed during a war, and a drunken, philandering, impulsive, and abusive husband to deal with. She won a camera in a lottery before she was married, and, never having used it, tries to sell it for the cash.
The old gentlemanly proprietor of the camera shop sees a chance to share his passion, and sets her up with film and developer and whatnot. Thus begins a friendship, maybe a platonic love-affair, between the two based on the power and beauty of picture-taking. And, as any film concerning photography should, this one looks Just Great. It's got a grainy sorta washed-out look that really takes you away to that time and place. But it also serves the tone and feel of her story really well.
It takes you with her inside, into her picture- taking. This is what I dug so much about this movie, was its take on the possibilities provided by photography, and Art in general. Where making art can take a person. This woman has such a bunch of trials and troubles, her family life is so stocked with drama, set against a backdrop of World War and labor strife. And yet she's able to transcend to some higher levels, and get something out of it, maybe make a little sense of it, whenever she takes out the camera and uses it.
The different reactions and repercussions to her taking up photography are awesome. And the moments where we witness her really starting to get into it are so cool. The actress is so so good, and while she's a more-or-less ordinary-looking woman, when she's seeing her results of her picture-taking, her eyes just light up with such a subtle fascination and beauty.
It's awesome. We get to witness this woman's entry into her Artistic Space. The photo-shop proprietor looks at her pictures and says "It's not everybody who really has the Gift of Seeing. This is a beautiful and engaging story about Maria Larsonn. Her life, her passions and her family. It is a biography and though I loved it, I am not sure everybody will because it lacks the contrived dramatic moments and a big climax associated with such stories.
Instead it is like life itself, stuff happens, more stuff happens and then you die. Well I hope I am not putting people off from watching this film because it is lovely film and deserves to be seen. I just wanted to remark and it is a little unconventional. Though it seems that photography will become an important part in Maria's life, don't expect it to. It is just there in the background. The plot itself is nothing much too talk about. It is more about the characters rather the plot here.
Acting is certainly amazing which brings the characters to life. 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 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.
This is a story of simple people who struggle mightily against great odds, presented in such as way as to give us a visceral sense of their ordeals. Here is a director who can bring the distant past to vivid life and whose obvious love for his medium is reflected in the subject of the story he wrote himself. The period of the film is roughly before Sweden became a social democratic welfare state and the story frequently touches on the class antagonisms that led to it. But there is virtually no point made in this film that lacks counterpoint, down to the very last line uttered before the closing credits.
There are no easy answers here, no final, neat, beribboned conclusion that sends us away satisfied. Nothing sentimental to gush about, but something lasting, just as the film's title suggests. In form, the film is a grown woman's narrated memoir that wavers in emphasis from her father to her mother. The father acted with textured skill by Mikael Persbrandt is alternately magnetic and obnoxious, sensitive and brutish, depending on his whim.
When he drinks, which he does on impulse despite best intentions, he is a terrifying, overbearing boor; when he is sober and in a good mood, he is the dream father - the charming, strong, fun-loving pillar of the family.
But this family is not lucky enough to have the latter without major doses of the former. Luckily, the mother superbly played by Maria Heiskanen has her head firmly screwed on and not only manages to endure her husband's abuses while raising seven children in poverty but also finds time to learn how to use a Contessa camera which the narration tell us she won in a lottery shortly before she married.
When, in a fit of financial desperation during a strike that finds her husband unemployed, she asks the gentle proprietor of a photography studio Jesper Christensen about the value of the camera, he compassionately persuades her not to pawn it but to use it. She allows him to coach her into mastery of this new-fangled device, thereby launching a hobby that helps make ends meet and adds luster to her grim tenement life while bringing joy and wonder to her family and neighbors.
Even her husband eventually overcomes his initial grudge against her new preoccupation. The story seesaws from highs to lows, from bitter fights to tender reconciliations, from hopelessness to hope, with periodic moments of breathless suspense when life itself hangs by the slenderest thread. It depicts a society in transition, half in the Christian, semi-rural monarchic past and half in the secular, amoral, motorized future.
In a sense, it is the story of Sweden itself. I couldn't help noting that the tenement shown in this film resembles the kind of building Greta Garbo was raised in. She was born in the same era, came from laboring parents and grew up to be absorbed by the new international technology of cinema, just as the heroine of this film is at one point enchanted by early motion pictures, to which she takes her children, leaving the grumbling, uncomprehending father to tend to his horse in the stable.
The cinematography makes even poverty look beautiful perhaps a bit too much so and each character is achingly well acted by a very well directed ensemble. The pace is rather slow, but there is so much to care about that the viewer willingly waits patiently for one scene to flow into the next. All in all, an outstanding work that seems to embody the very spirit of its own story — the everlasting moment captured by a camera in the hands of someone with the great gift of seeing.
This is an interesting Swedish film about a woman, Maria Larsson, who lived in the early twentieth century in Malmo.Everlasting Moments (Swedish: Maria Larssons eviga ögonblick) is a Swedish drama film directed by Jan Troell, starring Maria Heiskanen, Mikael Persbrandt and Jesper Christensen. It is based on the true story of Maria Larsson, a Swedish working class woman in the early 20th century, who wins a camera in a lottery and goes on to become a photographer. Music by: Matti Bye.