The eternal moments of Maria Larsson
| Movie | |
|---|---|
| German title | The eternal moments of Maria Larsson |
| Original title | Maria Larsson's eviga ögonblick |
| Country of production | Sweden , Denmark , Finland , Norway , Germany |
| original language | Swedish |
| Publishing year | 2008 |
| length | Cinema: 130 minutes, television: 105 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Jan Troell |
| script |
Niklas Rådström , Agneta Ulfsäter Troell, Jan Troell |
| production | Tero Kaukomaa, Christer Nilson, Thomas Stenderup |
| music | Matti Bye |
| camera |
Mischa Gavrjusjov , Jan Troell |
| cut | Nils Pagh Andersen |
| occupation | |
| |
In the Swedish film epic The Eternal Moments of Maria Larsson ( Swedish Maria Larssons eviga ögonblick , 2008) Jan Troell tells a story of emancipation. It is set around 1900 and is inspired by the memories of his aunt Maja Öman. As a screenwriter, director and sometimes as a cameraman, Troell used his most recent work to focus on a precise reconstruction of the living environment of his protagonists. As a co-production of several Scandinavian countries and Germany, the film cost just under 5 million euros. He received the Swedish Guldbagge Award for the best film, the best female ( Maria Heiskanen ) and male ( Mikael Persbrandt ) leading role as well as the best supporting actor ( Jesper Christensen ). Compared to the movie, the version shown on German television is shortened by 25 minutes.
action
The Swedish port city of Malmö around 1900. Maria Larsson is married to Sigfrid and has six children with him. The strong worker finds employment in the port more often than other men and makes a living for the family. Unfortunately, he occasionally awards spirits; He regularly breaks his promises to Maria to stop.
Gradually Sigfrid turns to anarchist groups and takes part in labor disputes. Maria has to compensate for the loss of income with cleaning work, especially when he is wrongly suspected of being involved in a blasting attack for a while and is imprisoned. She decides to pawn a camera that was unused in her house. The owner of the photography studio, the Dane Pedersen, shows her the magic of photographic art and makes her take photos herself. With her new hobby horse, Maria proves to be very talented, and the mother of a drowned girl asks her for a picture of her daughter laid out in front of her. Tensions between the married couple increase because Sigfrid has fun with other women and disapproves of Maria's photographic activities. He was drafted in 1914, and Maria expanded photography into an economic mainstay. After his return from the army, they quarrel again. Although Sigfrid has other women himself, he reacts with an outburst of anger when he discovers a photograph of Mary in Pedersen's shop window. But she cannot be talked out of taking photos. He threatens Maria with a knife and is imprisoned for months. Because the family maintained and kept his favorite horse Kropotkin despite high costs, he reconciled with her again. When the daughter found the camera years later, after Maria's death, there was still an undeveloped plate in it with the last and only portrait that Maria took of herself.
Arguments of criticism
The slow narrative speed of the theatrical version was appreciated by some critics and criticized by others. They also disagreed over the lead actress' play and the husband's figure drawing. film-dienst reviewer Esther Buss praised Troell for refraining from staging Maria as an artist or "exaggerating photography as a liberation." He by no means depicts Maria's husband as a "one-sided coarse and callous man". Despite the many shades of brown and gray in the “calm” pictures, the work is not a “decorative costume film”. It shows "a completely decelerated, almost sedate pace" and allows the dramatic approaches to collapse. "In this way, the film seems a bit out of date, stylistically a little antiquated, but pleasantly resistant to dramaturgical rules (...)". Troell shows "in a cautious and extremely unspectacular way how the medium of photography decisively changed the perception of reality in its early years."
According to Birte Lüdeking from the Rheinische Post , the film is not only a “differentiated portrait of a woman, but also a complex image of society and a comprehensive historical drama.” Troell shows multi-layered characters, narrating, as usual, “deeply humanistic, and like his main female character, the finely composed images and the slow narrative rhythm radiate one engaging, indecent restraint. The drama leaves a lot of time for its characters and gives the viewer precise insights into their milieu and their emotional world. "Heinrich Oehmsen, Hamburger Abendblatt , called the work worth seeing because Troell shows" real people and their feelings "and in" calm pictures " Provide insight into contemporary Swedish life. “It is a historical view of home with an eye for detail and excellent actors.” Heiskanen in particular plays very sensitive and nuanced.
Silvia Hallensleben from Tagesspiegel carefully thought the composition of the images for the “dignified” feature film. "Misha Gavrjusjov's camera finds pictures of dignified beauty for happiness and suffering." The critic, however, regretted that the leading actress seemed "a bit overstrained". In epd Film , Rudolf Worschech judged negatively and reported on his impression that the film “comes from another time.” - “And there are many moments in which the feeling of the old-fashioned turns into old-fashioned.” Much is predictable, and the husband one-dimensionally represented as a typical proletarian. The work is touching when it comes to photography, and the picture of the dead girl is a moment "when life turns into art."
Review mirror
positive
- film-dienst No. 7/2010, p. 21, by Esther Buss: The eternal moments of Maria Larsson
- Hamburger Abendblatt , April 8, 2010, p. 6, by Heinrich Oehmsen: The view through the camera changes your life
- Rheinische Post , April 8, 2010, by Birte Lüdeking: A woman breaks free
Rather positive
- Stuttgarter Zeitung , April 24, 2010, p. 32, short review by “tkl”: poor people
- Der Tagesspiegel , April 8, 2010, p. 7, short review by Silvia Hallensleben: The eternal moments of Maria Larsson
Rather negative
- Cinema Nr. 4/2010, p. 51, short review by Ralf Blau: The eternal moments of Maria Larsson
- epd film No. 4/2010, p. 51, by Rudolf Worschech: The eternal moments of Maria Larsson
Web links
- Everlasting Moments in the Internet Movie Database (English)
Individual evidence
- ↑ Release certificate for The Eternal Moments of Maria Larsson . Voluntary self-regulation of the film industry , April 2010 (PDF; test number: 121 737 K).
- ↑ according to IMDb
- ↑ a b Esther Buss: The eternal moments of Maria Larsson . In: film-dienst No. 7/2010, p. 21
- ↑ a b Silvia Hallensleben: The eternal moments of Maria Larsson . In: Der Tagesspiegel , April 8, 2010, p. 7
- ↑ a b Birte Lüdeking: A woman frees herself . In: Rheinische Post , April 8, 2010
- ^ Ralf Blau: The eternal moments of Maria Larsson . In: Cinema No. 4/2010, p. 51
- ↑ Heinrich Oehmsen: The view through the camera changes your life In: Hamburger Abendblatt , April 8, 2010, p. 6
- ↑ Rudolf Worschech: The Eternal Moments of Maria Larsson . In: epd Film No. 4/2010, p. 51