Blueprints For Building A 2 Seater Sand Rail

I had never spoken of Scandinavian cinema and it is somewhat strange given my love for those lands and for those people and we do a small deviation for Norway. I must also admit that some 'power to write something about this movie, because it is one of those things that leaves so many ideas but are classified as private. I mean what's better than three big man brute who find themselves segregated in Greenland to discuss the greatest systems of the affective sphere to close permanently in a monolithic silence to think for themselves. Sure it made laugh a little, but the film by Hans Petter Moland is sharp, cool and lucid analysis of human contradictions as the ice sheets that surround the three main characters.

think about it, it betrays at once the literary roots of the operation and there probably much of the autobiographical story that brings the poet Henrik Larsen (Gard B. Eidsvold) to accept a job as a trapper in Greenland to find the inspiration lost. The story begins with Larsen ( 1929), the Danish book Peter Tutein , strange and mysterious figure in early twentieth-century writer who lived and died young (47 years) and who lived in Greenland really like the protagonists of the film. Also the author of a sequel Larsen vender Hjem and also active in film and screenplay with the subject of a Danish film of 1939 set amongst the eternal ice titled Nordhavets mænd (Men of the North Sea). From the little that I find on the net I think it's a family film and therefore has little to do with Kjærlighetens kjøtere instead a film that is absolutely far from conciliatory.

E 'curious to note that some films are able to disappear from the face of the earth. Yet Kjærlighetens kjøtere you can not enter into the vastness of the films that have enjoyed little distribution, as it is circulated in at least since the days of VHS video titled Zero Kelvin with which it is certainly easier to find information. Over all its director is not this total stranger, however, view his prolific and discreet substantial budget of many of his productions. Even his association with the great Swedish actor Stellan Skarsgard, present in three films he directed, would be enough to give him everlasting glory. On the contrary seems to be a pearl in the large (retired) happy island of Scandinavian cinema: a drama inspired and high set in eternal cold in the early years of last century 2.

male Intimacy is the true realm of the film, which is not a novelty question on the extremity to which they may never get to love, but so elegant and dry items dry on the subject is rare to find. In this case then it is a valuable commodity that boasts of good writing and a grandiose production. Nothing like the eternal ice of the north could make it better as the setting, perfect to let go of the theater thinking, expand your mind and seek answers to their worries. Since the young writer in search of inspiration Larsen (Gard B. Eisvold) lands in Greenland understand from the faces of his two hunting companions that future ice puts a strain on the minds of residents. Not just the obvious wounds made by ice on their faces to betray it, but it is all the gestures in the characterization of silent scientist Holm (Bjorn Sundquist) and the rogue and grezzissimo Randbæk (Stellan Skarsgard). The environment and isolation, as the hunters at the beginning of the twentieth century saw other humans only when they came to collect the goods, there has clearly forged, and the youngest Larsen is on to shape. Moland is good at making just imagine how the story will revolve around the change and the change of a confused young man.

The climate that develops between the three is very heavy. And 'the good Stellan to be the driving around which the entire film. Admission is also involved in ' interview with the director confessed that he had to mediate to get close to this great actor's presence and the other Nordic Film legend Sundquist. It 'just when you face to face great performers that actors often give their best. Sundquist's interpretation of the scientist is in fact very good, with discretion and capability to history. The character itself is held outside in good order in the duality represented by Larsen and Randbæk and is at the very moment of his absence, which completely undermines the balance between the old hunter and the young writer as predictable right from the start.

impersonation mo 'ogre of of Randbæk made good by the Swedish actor is in fact considerable and reaches deviant tones and alienating when trying to reconcile with Larsen organizes a grotesque Christmas party. Slung in a Chinese red silk blouse discover the traveler to the East, with divinatory and visionary power. At this point we would have to open a small parenthesis on instinct by explorers of the ancient Scandinavian people, but I try not to dwell passage citing the fact that costume just in those places from a solo to the other end of the world as well as live in total isolation for his own choice. What is demonstrated by their extensive history in this regard is that the peak in the epic tales of exploration typical of those lands, legends mixed with history and myth as the Grœnlendinga saga, the saga Eiríks rauda and and Vinland Sagas glorification of the heroic passengers as Erik Thorvaldsson (Henry the Red) or Leif Ericson . That is to say what the short journey, the extreme conditions and the hermitage are real breeding ground for those people where, as does also show the film, the misanthropy and misogyny may even rise to infinite power.

does not reveal anything of the reasons that made Randbæk sterile and bad, always ready to harass the young man and tell him in the crudest of ways that it is wrong to love a woman a sea far away from him and useless read his farewell letter that speaks of an unlikely expectation. Randbæk The writer sees in the dark abyss of his own doubts, his frailty as a male, the vivid resentment that could get to try a man betrayed, and the total devastation that can bring about the end of a relationship. The continued progression of the inevitable tension between the two leads desperate climax in the snow all makes use of a blue twilight and the sum Moland praise for making these images on film. Does not reveal even the ending, but I would at least mention the crying of Larsen in games played and finished, a clear sign of surrender to Randbæk. What I wanted to avoid until the end becomes a reality, the replacement of the persecuted and the persecutor, between good and evil, between hero and defeat the monster is known to occur. The sense of inevitability is made as strong as a punch in the stomach and perhaps we should all weep for what could be miserable human nature.

Technical

Kjærlighetens kjøtere
Year: 1995
Director: Hans Petter Moland
Subject: Peter Tutein
Screenplay: Lars Bill Lundholm & Hans Petter Moland
Cast: Stellan Skarsgård
Randbæk
-Gard B. Eidsvold - Henrik Larsen Bjørn Sundquist
- Jakob Holm
Camilla Martens - Gertrude
Paul-Ottar Haga - Official
Johannes Joner - Men of the company Erik
Øksnes - Captain
Lars Andreas Larssen - Judge
Juni Dahr
Johan Rabaeus
Frank Iversen
Tinkas Qorfiq - Jane

1. The trapper or trappers are the center of the film. To this I can not recommend to anyone who is particularly sensitive to images of dead animals.
2. Probably the adaptation is very faithful the novel. The costumes you see in a few scenes set in Greenland are not precisely in that period and in a newspaper one of the main characters learns of the last days of Lenin. In fact, the film was shot in the large Danish island in the North Sea, but in smaller, though no less cold Svalbard is Norwegian as the film itself.