Friday, September 4, 2015

Review of Kay Pollak’s drama “How on earth” – Daily News



     Lennart J & amp; # 228; hkel and Frida Hallgren pc & amp; # 229; r the focus of Kay Pollak's new film.

         Lennart Jähkel and Frida Hallgren is the focus of Kay Pollak’s new movie.





“How on earth” returning to Lena and her fight for his run. The constant emotional outbursts and the game gets Wanda Bendjelloul to doubt the film’s saving power.




“How on earth” returning to Lena and her fight for his run. The constant emotional outbursts and the game gets Wanda Bendjelloul to doubt the film’s saving power.

For some time it has been on the cultural pages rumored that not just one, but several, savior will soon be on the way. For the troubled book industry Messiah will have adopted the figure of David Lagercrantz who wrote the Fourth Millennium Dick while the film industry’s salvation is predicted to arrive in the form of yet another life-affirming körepos signed Kay Pollak.

His last film, “As it is in heaven” (2004), succeeded after all, attracting 1.4 million Swedes to cinemas. To repeat such a success would be in the gloomy present situation, however, require a minor miracle. A report of this year shows that all Swedish films last year had a combined audience of only 1.3 million.



At the same time, it is a Swedish director who should be mentally equipped to carry out such a Hercules Mission then it is surely Kay Pollak. In recent years, he has devoted a lot of time to lecture on exactly that with trying to see problems as opportunities.

As you may recall ended “As it is in heaven” very dramatic with star conductor Daniel Dareus ( Michael Nyqvist) died of a heart attack. When we return to the Light Field that is why his beloved Lena (Frida Hallgren) we follow.

Read more: Kay Pollak: “Jesus should climb down from the cross”

She now lives alone in the dilapidated school building that Daniel once bought and waiting for his children. The church choir is still the hub of both the story and Lena’s life. They constitute a motley bonus family where, among others bicycle dealer Arne (Lennart Jähkel) included. The church is just in the process of being renovated, and before the inauguration planned a large television -Send jubilee. Despite strong opposition from some villagers, the church council and a career hungry organist takes Lena on the task of leading the choir in the performance of Handel’s Hallelujah.

Kay Pollak goes unabashedly straight for the most intense feelings. For the actors, it becomes a delicate task to not play over. Which unfortunately all too often happens. As for the inflated first fifteen minutes of the film when the laughter and screams after another while Lena’s water is in the middle of a concert performance, a blizzard prevents her from seeking hospital and a dyngrak priest is forced to jump in as doula during her sudden home birth.

The film is then fed with this type of strong and constant changing of emotion in every scene that they finally likely to cancel each other out. To be so focused on the power of music is Pollak strange tone deaf in personal trainer.

Power analysis also feels slightly warped when it is already so marginalized Swedish Church once again to represent all that is evil and petty with this world.

In the eleven years since the previous film was the story has, however, been given a much needed facelift as the focus shifted from the male genius to instead about a lonely woman’s struggle against both Jante and outdated patriarchal structures in rural areas.

Just like in the previous film’s protagonist Lena’s main weapon a seemingly inexhaustible good humor that reminds us of the lecturer Kay Pollak stubborn rather about choosing joy in life. Left, and if possible even more enhanced is the theme of the music’s inherent power and ability to move mountains. The question is whether this lyrical message is enough to move the hard flirted Swedish audiences to cinemas.






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