Life in a Fishbowl is the kind of film this blog seeks to promote. It has been a major hit in its own territory and won in virtually every category of Iceland’s national film awards. Internationally it has been praised as well – but it has also been dismissed as formulaic and ‘routine’. The Hollywood Reporter review is a case in point. It compares the film unfavourably to two respected Hollywood films and never discusses it as an Icelandic film. This is the kind of thing that really pisses me off. Let me explain.
Life in a ‘fishbowl’ is in some ways an excellent metaphor for what it must be like to live in a nation of 350,000 people which has nevertheless produced international performers in a number of disciplines. It’s perhaps easier to be a big fish in a small pond, but it’s quite difficult to be ‘unknown’. The film has been described as a multi-strand narrative and an ‘ensemble piece’. I’m not sure it is either of these, but I did keep thinking about those Nordic Noir novels and long-form TV serials. The film runs to 130 mins but I could happily have watched it over four or five single one hour episodes. I’ve learned from Icelandic crime novels and a handful of films that there is plenty of darkness in Icelandic stories – but also possibilities of hope.
There are three central characters in Life in a Fishbowl with personal narratives which will eventually overlap. Eik (Hera Hilmar) is an attractive young woman who was a teenage single mother and now has an 8 year-old daughter at 24. She works in a nursery school and supplements her income by working occasional nights as a call girl for local businessmen – trying to reduce her overdraft. Sölvi (Thor Kristjansson) is a handsome young footballer who has had to give up the game because of injury and has been taken on as a banking executive, adding some glamour to the management team. Finally, Móri (Þorsteinn Bachmann) is a poet and novelist who has become a sad alcoholic – but one still capable of producing an important autobiographical novel. These three are indeed familiar characters, but in context they represent much more. While Eik is perhaps the familiar figure of the damaged young woman n Nordic Noir, the other two characters are Icelandic heroes – the artist/novelist and footballer who might be feted in Northern Europe capitals as well as at home, especially in the years immediately before the financial crash of 2008 devastates Iceland. So, we have Iceland on the edge of the precipice with two potential national heroes and stories that delve into a dark past. I won’t give away what happens except to say that all three characters have a link to small daughters. The direct link between the three is that Sölvi has a daughter at the school where Eik works and that he is charged with trying to buy Móri’s house as part of his bank’s redevelopment plans. Móri’s house is near to the school and he likes to watch the young girls playing in the school grounds. That sounds provocative but don’t jump to conclusions. I think this manipulation of what seems like three typical characters in familiar narratives is actually well-worked. The performances are all very good, the ‘Scope cinematography works as does the music. It’s a Nordic melodrama and I had tears in my eyes at the end. If you are a jaded soul who sees everything through Hollywood lenses you might not get too much from the film but for the rest of us, it works like a treat. This second feature by writer-director Baldvin Zophoníasson is one of the films competing for the audience award at Glasgow. It stands a good chance.