Kraftidioten got very good reviews at the Berlin Festival in January but has been released by Metrodome on just 25 screens in the UK. That’s a shame because it is an enjoyable black comedy with a star cast offering great entertainment value. The film’s Norwegian title refers to the ‘power idiots’ who operate in part of the Norwegian north country (represented generically rather than precisely in a snow-covered mountain landscape with occasional trips to the city which looms out of the snow like Oz). The ‘idiots’ are two groups of gangsters controlling the local drugs trade. Unfortunately, one group has incurred the wrath of an upstanding ‘citizen of the year’ played by Stellan Skarsgård as the driver of giant snow-clearing trucks. Provoked beyond his tether by the murder of his son this character proceeds to ‘eliminate’ gang members one by one until he finds the real culprit – thus the English title. Each ‘disappearance’ is marked by a simple death notice.
The chief idiot is a Norwegian gang leader from a local crime family. He’s a pony-tailed vegan living in a show house stuffed with designer monstrosity furniture who compounds the initial idiocy by wrongfully attacking the Serbian gangsters who control the other half of the market. The film is marketed as a ‘thriller’ and a ‘comedy’. It is extremely violent but there is plenty of dry and dark Nordic humour, which I think should appeal in the UK. I’ve read at least one comment from elsewhere which thought the film was a serious drama.
Alongside the Swedish star Skarsgård the starry cast includes Bruno Ganz (Swiss) as the Serbian gangster leader and Birgitte Hjort Sørensen (Katrine from Borgen) as a divorced wife (otherwise this is a very male film). The international casting reflects the usual co-production arrangements of the three Scandinavian countries with Germany. Inevitably, comparisons have been made to both Tarantino and the Coen Bros films, especially Fargo. There is something in these comparisons and they may well have influenced Danish scriptwriter Kim Fupz Aakeson and Norwegian director Hans Petter Moland – two highly-experienced creatives. However, much of the humour strikes me as Norwegian/Swedish, drawing on representations of a welfare society and the familiar discourse of ‘new immigrants’ in Scandinavia. Skarsgård’s character’s Swedish identity is highlighted when he is praised for being the best kind of Swedish immigrant. In contrast, the Norwegian gangster insists that the Serbians are actually Albanians. The nearest comparison I could make is with Morten Tyldum’s adaptation of Jo Nesbø’s Headhunters (Norway 2011). That film was a big success in the UK and if you enjoyed it, you should enjoy the slightly drier and more comedic scenes here. I should add though that this is slightly less of a thriller and its relatively slow pace stretches to 116 minutes.
The UK Trailer (which does include some of the best moments, so don’t watch if you already know you want to watch the film):
I missed this on release – I don’t think that Arrow made too much of an effort in 2012 when a DVD release was their prime objective and that’s a shame because this is a CinemaScope flick which would look very good on a big screen. I’m just grateful to BBC4 for showing it in its Saturday night slot usually reserved for noir crime fiction. It still looked good on a small screen. The English title is a typical marketing scam, depending on on Anglo viewers’ memories of Papillon and other films set on the notorious colonial prison in French Guiana. It’s not a very helpful title as this is about a brutal boys’ reformatory school on Bostoy island in the Oslo fjord in 1915. Based on a historical incident this was the second of the recent cycle of homegrown ‘blockbusters’ in Norway, following Max Manus and preceding Kon-Tiki. A blockbuster like this in Norway has a budget of around 50 million kroner (about £5.7 million) and attracts an audience of around 200,000.
Nordic films often need to be co-productions to raise the finance for a large scale production and this film has several co-production partners. It was mostly filmed in Estonia and its Swedish star, Stellan Skarsgård, never actually set foot in Norway on the shoot. VFX were also used to create a sense of historical and geographical accuracy. Skarsgård is a genuine star presence but in this case I think he is upstaged by the largely non-professional cast of boys and the two leading young actors, Benjamin Helstad as Erling and Trond Nilssen as Olav.
The film succeeds partly through spectacle with the CinemaScope frame used very effectively by cinematographer John Andreas Andersen to portray the bleak conditions on the island, especially in the final scenes during the winter. The story is familiar with a new ‘inmate’, Erling, arriving and being assigned to a dormitory in which Olav is the ‘trusty’ leader – a boy who has been in the home for many years and is only a few months away from release. Olav’s original crime was trivial but Erling has done something pretty serious. He also comes with a backstory – he has been on a whaling boat and experienced the death throes of a whale. The narrative develops with a conventional triangular structure. Erling and Olav have to develop a relationship in difficult circumstances, with a potential conflict between them in terms of fighting the authoritarian regime of the Governor and the dormitory ‘house master’, Braaten. This is one of those films that endlessly reminds the viewer of other titles. I thought at first that it would be like Scum and then wondered if it was becoming like if . . . . Other commentators have referenced One Flew Over the Cuckoo’s Nest and Cool Hand Luke. I’m sure that Shawshank Redemption will be another touchstone for some. I think that it is more a ‘youth picture’ than a conventional ‘prison film’ and the narrative turns on the fate of another new boy who arrives with Erling, but who is less likely to survive. It’s also probably a mistake to look only at Anglo-American films for clues to category/genre.
Staying true to the historical incident, the film develops into a type of Nordic story that seemed recognisable to me from several key Swedish films with young and potentially romantic ‘rebel’ heroes hounded by repressive forces – I’m reminded of Bo Widerberg’s films such as The Ballad of Joe Hill. Erling and Olav are nor ‘political’ in any way, but they do represent heroic figures in the face of brutality and criminal behaviour by men in positions of authority, even if Skarsgård’s performance ‘humanises’ the Governor a little. The film won prizes in Norway and Sweden but bizarrely does not seem to have attracted audiences in either Sweden or Denmark, confirming the odd observation that Nordic films rarely travel to neighbouring countries. Audiences seem to go only for Hollywood or ‘national’ product. That’s a poor choice in this case. I don’t think Hollywood could make a film with the discipline shown by director Marius Holst here. I certainly recommend the film. The original institution on Bastoy is now a very progressive and seemingly successful prison where rehabilitation appears to be working.
I’m sure I’m not in the target audience for this intriguing little film (76 mins) but I enjoyed it and I’m very happy to support it. It topped the Norwegian chart on its cinema release which is no mean feat for a low-budget picture without much of a plot. But it succeeds because of its central performance and because of the approach of director Jannicke Systad Jacobsen towards what is strangely a rare topic for films – the sexuality (indeed the lust) of teenage girls.
The film is based on a novel by Olaug Nilssen which offers three linked stories about different women in a small Norwegian town. Director Jacobsen chose to focus on just one story – about Alma (Helene Bergsholm), tall blonde and beautiful and still only 15. She lives with her mother in a tiny town in Western Norway, set in beautiful countryside but with virtually nothing for teens to do except get drunk at parties or behind the youth centre. We first meet Alma furiously masturbating to the (rather jolly) chat of Stig the phone sex operator. Her mother is commendably unphased by her daughter’s horniness (but appalled by the phone bill). Alma’s fantasies extend to imagined lovemaking with a classmate, Artur – and potentially with other desirable males. Sometimes it’s difficult to distinguish what is fantasy and what is reality but Artur appears to do something to Alma that she reports to her friends, the sisters Sara and Ingrid. Before long her story is out and she is ostracised by all the teens in the area. This is the real social issue – growing up in small towns where everyone knows your business. The sub-plot involving Alma’s best friend Sara supports the central theme of representing ‘real’ young women. Her sister Ingrid represents the ‘opposition’ and her older sister now at university also plays an important role (hers was one of the other stories in the novel). Jannicke Systad Jacobsen was careful to create a fictitious small town made up of locations in Western Norway and to cast the roles in the Loachian manner, i.e. young people from the region itself. Both Helene Bergstrom and Malin Bjorhovde were high school students without any acting experience before they took on their roles.
Turn Me On, Dammit! reminds me of the Swedish film Fucking Åmål! (1998) (boringly re-titled Show Me Love in the UK and US). Åmål is a small town in Western Central Sweden and the film explores the romance between two teenage girls who despair at living in ‘fucking Åmål’. The ‘taboo’ in that film was the possibility of teenage lesbian sex, but the real problem was the language of the title. The film however became the biggest film of the year in Sweden. Turn Me On. Dammit! has been very well received in North America, but has only now been scheduled for release in the UK – and only on DVD.
I found the film enjoyable precisely because Helene Bergsholm as Alma seems so ‘normal’ and Jannicke Systad Jacobsen’s approach is very refreshing. The slide from reality into fantasy and the desire to communicate that is frustrated by lack of confidence and experience is something that most audiences are likely to recognise from their own adolescent fumblings. It’s really for young women to say whether the film ‘works’ and there are many reviews out there and some suggestions as to why this is an important film as well as an enjoyable one. Mainstream film and TV is obsessed with comedies about teenage boys losing their virginity but teenage girls are too often trapped in a version of the Madonna/Whore typing. They are either ‘dangerous nymphets’ or princesses waiting for Prince Charming. It would be fascinating to study this film alongside American teen sex comedies and the Twilight films.
I urge all film and media teachers to check out the film and decide for themselves whether this shortish feature would be a worthwhile teaching text. The DVD is released in the UK on 25th March by Element Pictures Distribution and can be ordered from Amazon UK.
New Yorker Films has created a very good ‘official website’ for the film’s North American release with stills, a press book and very good background texts.
. . . and the North American trailer (with added Orson Welles soundtrack!):
Max Manus is interesting for three reasons. It is one of the most successful films ever at the Norwegian box office. It is part of a current cycle of Second World War films produced locally in countries that suffered Nazi occupation (see our recent post on Flame and Citron). It’s well made and feels genuine in its attempt to tell an important story.
Max Manus himself was an authentic hero of the Norwegian resistance – or more properly a soldier of the ‘Norwegian Independent Company’, the Norwegian force created in the UK after Norway fell. The UK DVD carries a documentary about him and the ‘making of’ the film made by the Norwegian public service broadcaster NRK. He survived the war and died only in 1996. The events portrayed in the film all happened more or less as they are represented with only a few minor changes such as compositing several lesser characters to make the narrative more manageable. Manus published his own accounts of his adventures soon after the war and these provided material for the script.
Early in 1940, Max, a rather wild and rootless young man in his mid-20s without close family ties, decided to volunteer for a small Norwegian contingent fighting on the side of the Finns against an invading Soviet Army in the so-called ‘Winter War’ (see our post on the Finnish war film with that title). Injured in battle, Max returns to Norway to discover that his country has been invaded by the Nazis. He links up with Oslo friends and becomes involved in acts of resistance. Captured by the Gestapo he escapes and sets off on a journey that would take him several months and halfway round the world before he reaches the UK where the Norwegian government in exile is based. In a training camp in Scotland he learns the skills of a saboteur and resistance fighter and is eventually parachuted back into Norway. For the remainder of the war he carries out various raids on German ships in the port of Oslo, retreating for bouts of ‘rest and recreation’ in neutral Sweden where he meets Tikken, the Norwegian wife of a British diplomat.
The film covers a range of actions and a range of sub-genres. There are sequences which relate to the urban intrigues with the Gestapo and others which focus on the commando-style sabotage attempts on German shipping on Oslo’s waterfront. The scenes in Stockholm seem more part of a Casablanca type of spy/romance. Much of the action was shot in Oslo with its distinctive architecture but the overall presentation is fairly conventional. Really this is just a cracking good story with real-life characters who were clearly very brave men and women. At the centre is a small group of young men who have known each other since childhood. This is what distinguishes the film from others, like Flame and Citron, in which resistance proves to be a more confusing process. Max Manus tells us a story that few outside Norway will know and since it is so engaging the film should prove both enjoyable and informative for any audience. Max is played with exuberance by Aksel Hennie, currently wowing audiences in the UK as Roger Brown in Headhunters – a very different role.