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Anna - "He shouldn't have come."


Jorgen - "No, but we can't control everything in the world..."




I am feeling very emotional as I write this, having just watched ‘After The Wedding’ for the 3rd time. Each viewing I find more touching and gut wrenching than the last. As I come to know the characters and am able to watch each scene with the precognition of their futures at my disposal every detail takes on new meaning and exposes far more depth than I could have imagined on first viewing.

Susanne Bier, the Danish director, also wrote the story, which was then scripted beautifully by Anders Thomas Jensen and photographed by Morten Soborg in 2006, two years after her film ‘Brothers’ was released in 2004. (I can’t recommend ‘Brothers’ highly enough!!!)
As most of you who are reading this will have already watched the film I feel no need to reiterate the plot , my only wish is to express my personal reactions and to begin a dialogue with others who want to share their own responses.

The main characters are Jacob who works in the orphanage in India, Pramod the little boy he has befriended, Jorgen the Danish billionaire, his wife Helene and their daughter Anna.
As I watched this time I found myself struck most by some particulars in the dialogue which seemed to reveal to me their story. I’d like to share my notes with you in the order they were taken:

Jacob: …and I have to go all the way to Denmark and shake somebody’s hand, then he takes a photo and shows all his friends that he’s done something really good.
Mrs. Shaw (head of the orphanage):This is not up for discussion…you’ll go there and wear a suit and smile all the way…this is our last chance or we close…please, you owe the children that much.

(Conversation with kids in the orphanage)
Pramod: ...you hate all the rich, Mr. Jacob...
Other kid: ...Is it because the houses are far apart that people are far apart?
Jacob: … I’ll be back for your birthday, I promise… I’ll only be away for eight days ….
Pramod: …you’re not coming back; I know it…go away...go away… (He runs to Jacob and hugs him). Perhaps you take me there one day…
Jacob: ...Perhaps...

(In one of their initial business meetings together)
Jacob: …what do you want?
Jorgen: …I’m just a good person….

(After the Wedding, it’s early A.M., Jorgen is still awake outside by himself. Helene comes out and they speak a little about what happened. Jorgen says he knew nothing of Jacob’s identity beyond a business context.)
Helene: …He shouldn’t have come….
Jorgen: …No, but we can’t control everything in the world.

(In drunken lunch scene with Jacob)
Jorgen: (To waiter who refuses to serve them more alcohol because they are drunk)…Policy? If you want to get on in this world you need to make decisions...When you break policies you show decisiveness…

(The scene in the study at home)
Helene: ...Would you please tell me what all this is about?...
Jorgen: (With a look condescension and pain that blew me away) …I couldn’t be bothered…
Helene: …You can’t just run our lives in your sick head…
Jorgen: (Mimics her cruelly then starts screaming)…What have I done wrong here? Tell me what I’ve done wrong…
(Scene ends with dizzying shots of all the stuffed animal heads in the study staring at him with piercing eyes.)

(A later business negotiation.)
Jacob: ...What do you get out of this?
Jorgen: Nothing, I get to keep my good life. I buy remission for my sins and … we’re almost family.

(Jacob confronts Helene alone at her home.)
Jacob: I want to know what’s going on? ...If it’s one of your games I want it to stop…
Helene: Stop being paranoid. You don’t have to be poor to have good intentions. There are people with money and ideals.
Jacob: Really? I’d like to meet one.
Helene: Hello, Jacob.
Jacob: Give me a break, you’ve never had any ideals…What does he want?
Helene: I don’t understand it Jacob.
Jacob: Do you know something I don’t?
Helene: No, I don’t.
Jacob: That’s all I wanted to know…

(Next scene outside, the two of them sitting on stairs together, talking about their breakup, now at some peace, their friendship renewed.)
Jacob: …But we didn’t…
(She then strokes his arm tenderly as was shown in his memory twice in the early scene in India.)

(Scene with Helene and the mother in kitchen.)
Mother: (Having learned that Jorgen has lent his private chauffer to Jacob). It seems he’s giving it all to that Jacob…
(Notice as the light dawns in Helene’s mind, the terrible fear that suddenly shows in her eyes as she begins to GET IT…then runs thru the house searching, eventually finding Jorgen’s morphine. Now she knows Jorgen is dying.)

Helene: You had promised him (the doctor) to tell me ‘After the Wedding’ ……
Jorgen: … I want to let it be for now…
Helene: …You don’t have the time…We’ll figure this out, there’s always a solution…
Jorgen: …There’s nothing to do.
Helene: ...Yes there is…
Jorgen: (Screaming now) …There’s NOTHING, do you understand?!!!
Helene: ...You can’t die!
Jorgen: We don’t get to decide!

(On phone)
Pramod: ...So you will come for my birthday?
Jacob: I promise.

Jacob: (Looking at final contract.) What does this mean? … The part where it says I have to live in Denmark?
Jorgen: …It’s a demand on my behalf…
Jacob: Why should I do that?
Jorgen: Because I said it’s a demand on my behalf…Have I said anything I don’t mean?
(Silence. They stare at each other.)
Jacob: Maybe everyone else kisses your ass but I won’t…you want to buy me….
Jorgen: Think how many people you could help … ($12 million) … wouldn’t you sell yourself for that? ...I know all about you, you’re a good person … all your sweet little kids will be on the street again…
Jacob: …You fat pig...is it fun playing God? You big fat pig…you can kiss my ass.

(Jacob has left, Jorgen chases him outside, by the canal, now frantic, the tables have turned, and Jorgen is now the beggar.)
Jorgen: (crying) …Look at me Jacob…don’t you see that there is a point to all this? (Jacob turns and walks away again and Jorgen pleads with him, crying out) Do I have to live on the other side of the world to get your help?

(Jacob has made his decision and calls the orphanage with tears in his eyes.)
Jacob: I’m not coming back Mrs. Shaw, I have to stay here.

There are a few scenes showing him and Anna and Helene bonding, becoming a family, he is there for them during the crisis of Anna leaving her husband.

Scene in boardroom where the contracts are being signed, Jacob shakes Jorgen’s hand, they look deeply into each others eyes with respect and a warm heartfelt smile, they have become equal partners in this play.

Anna and Jorgen confront his illness together.

(Birthday party, the last hurrah, Jorgen expresses his appreciation and thanks to all the people in his life during a dinner speech.)
Jorgen: Every acquaintance, every friend, every person who has a place in your heart...it is the time with them that really means something…nothing else matters…
Jorgen: …and I would like to propose a toast to the future!!!!

(Back in Jorgen and Helene’s bedroom, he’s obviously sick and dying)
Jorgen: …You don’t need me anymore Helene; everything is taken care of now, right? (He asks her about Jacob, does she think they will get together?) I would like to know…
Helene: Stop!
Jorgen: I didn’t want you to see me like this…can you manage?
Helene: Yes…
Jorgen: …I’m so damn pathetic… (In anger and terror) I don’t want to die!! ... I don’t want to die…Damn it...Goddamn it!!.....
WHY??????

Scene of funeral, Jorgen zips up boy's jacket, clasps Helen’s hand, consoles Anna, it’s his family now.

(In India again, Jorgen asks Pramod if he wants to come back to Denmark with him.)
Pramod: …I don’t think so. I want to stay here. Everything is so good here now. I don’t want to leave that…you don’t like people there…you said so yourself…
Jorgen: But…
Pramod: ...You can come visit. (Hugs Jacob and goes out to play with his friends.)

Jorgen watches them play, feeling the loss, and then smiles, at peace with his decisions. Indian music plays.

THE END.


For the third time, I am so blown away by the pain, anger, honesty and truth that Jorgen expresses in the bedroom scene and Helene’s reactions to it. I have never seen anything on film that shows the depth, horror and reality of such an intimate personal and inescapable experience. To be able to glimpse, to almost touch the last precious, excruciating minutes shared between two loved ones during these end stages of illness, the final moments of our lives. I am in awe. I am crying and can’t imagine how I can write.

I have fallen in love with these characters. I doubt I will forget them anytime soon. This movie has indeed changed my DNA. (See KEY.)

Discussion about Kontroll has begun!. Please join in.....

“I can’t breathe.
Air is getting old…
I can’t breathe.
Keep it in control...”

These are the opening lyrics to the film Kontroll. (For those of you who know me, I’m sure you will find this strangely apropos!) A killer soundrack by NEO – btw if you can find any recordings by NEO let us know, we tried and can’t.

This is the first feature film written and directed by Nimrod Antal. Antal grew up in LA but his family is from Hungary. During a trip he took to Budapest he was fascinated by two particular professions that he had not come across in the U.S. One was that of ‘The Toilet Lady’, the other was the ‘Ticket Controllers’ on the metro. He chose the latter as the subject for this film. Kontroll was shot entirely on location in the Budapest underground metro system. They were allowed to film only during the four and a half hours per night when the subway system closed down. Shooting for 35 days under this tight and restrictive schedule ultimately rendered a total of 25 hours of film footage by cinematographer Gyula Pados. The photography in every scene is impeccable and the editing by Istvan Kiraly sets the pace.

Upon first viewing I felt that Kontroll was mainly an atmospheric piece with strong, deliberate and insightful character development.

On second view however, I found the plot itself to be important, centering mainly on the mystery of “who in fact is the killer?”

The main character of course is Bulcsu. He is the leader of a team of Ticket Controllers and his crew consists of The Professor, who has thirty years on the job, Muki the narcoleptic, Lesco the unkempt fellow, and the new guy Tibi. Bulcsu has chosen to live entirely in the underground world of the metro and has severed all contact with life on the ‘surface’.

The varied personalities of the characters in the film are revealed as they are shown contending with the demands of their job and hanging out with each other. Through the beautifully orchestrated and meticulously chosen details a vivid tapestry of this underground world is developed.

I could go on for pages about all the things in this film that caught my attention but I’ll try to edit myself by choosing two favorite scenes:

#1. The long and hysterical chase scene that ensues after ‘Bootsie’ (later referred to as ‘The Runner’) sprays Tibi in the face with shaving cream. Here Bulcsu and his team of merry men are filmed weaving in and out of the platform poles and other obstacles. How the hell did they photograph this so smoothly? The shot where Bootsie does a side slide under a descending grate is perfection. This is followed by another great motion sequence of Bootsie “Butt Surfing” down the mid-rail between the escalators. Too frigging funny! The scene ends with the beaten up crew sitting on the platform, seemingly invigorated and nursing their wounds by chomping on pistachios and spitting the shells all over the place.
Factoid: Bootsie is the founder of “The Passenger Liberation Society.”

#2. The long, quiet and serene after-hours sequence in which Bulcsu appears to be on a quest. He searches methodically throughout the bowels of the subway system. Some striking photos here such as the hauntingly lit huge dual vent fans which sit at the end of a track filled tunnel. Blew me away. I noticed that throughout the scene there were many of these symmetrically composed shots.

And I can’t resist mentioning:

1. Check out Muki’s dance propelled by great music and inter-cut with close-ups of each character’s face.
2. Japanese group of tourists playing on Muki! In fact that whole interplay between the crew and passengers before Tibi gets sprayed is great, especially the tight, zany yet somehow believable dialogue.
3. The whole thing with the shrink. What can I say? To quote the Professor’s response to Tibi (who is concerned about having his “‘mind probed”). ”Don’t worry; you can’t make waves if there’s no water.”


Now as to the mystery itself. To me, Bulcsu is unquestionably the killer. Ain’t no “Jumpers” in this here Metro. Why do I think this? In the words of Sofia (the Bear) “Follow me…”

Clues
-In Bulcsu's first scene, he looks up at the moving surveillance camera and says "What are you staring at?"

- Note the grey liver spot on the hand of the “Grim Reaper’ (or whatever you wish to call the black hooded man) while it is tapping on the escalator railing.

- In two scenes we see Bulcsu sleeping in the fetal position on the platform. Later, in his dream, he finds the Reaper sleeping in the same fetal position at the end of the tunnel.

- Later, when Bulcsu sees the Reaper and chases him, the Reaper gets away. But why doesn’t Bulcsu tell anyone about this? He knows everyone is looking for the killer.

- While chasing Bootsie down an empty platform Bulcsu sees The Reaper step out of nowhere and push Bootsie onto the tracks and under the train. Bulcsu then stands frozen in a fugue type state, eyes closed, as The Reaper walks slowly and deliberately back towards him, literally brushing against his arm as he passes. After his awakening from this shocked state we see Bulcsu in the bathroom where he spits at and then smashes his own image in the mirror. Later when The Boss confronts Bulscu about this latest death, Bulcsu seems to truly have no knowledge of who the killer is. He never mentions having seen the Reaper. As far as we can tell no one else in the film has seen or mentioned him either. It was at this point that I became sure that the Reaper is a part of Bulcsu, unknown to himself. Note that the surveillance cameras do not show the Reaper as he walks back towards Bulcsu and brushes against him.

- When Bulcsu’s crew confronts him, once again he does not offer up the Reaper. As he walks away from his friends with his back towards us we see clearly, for the first time, the black hood hanging out of the back collar of Bulcsu’s black leather jacket, the same hood we see covering the Reaper’s head at all times.

- After having been beaten up by Gonzo and passing out on the platform there is a quick close-up of Bulcsu staring at his bloody hand in which I could clearly see the same dark liver spot that was on the Reaper’s hand earlier in the movie. Now walking through what has become a wild underground party, he catches another glimpse of the Reaper making his way through the crowd. As before, even when Bulcsu has the perfect opportunity to look at the Reaper’s face he chooses not to do so. However he does now seem determined to follow the Reaper to the end. He finds him in a closet, a fight ensues, the two of them go down amidst a pile of clutter but I only see one figure in the pile as Bulcsu rises and leaves the closet. (Compare this to a similar scene in the movie ‘Fight Club.’) Moments later the Reaper appears again and a deadly game of “Railing’ begins between the two of them. Bulcsu wins, jumping safely onto the platform just as the train arrives. We can only assume the Reaper has been killed on the track.

- Bulcsu then comes across Sofie kneeling down dressed in an angel costume.. Unfazed by her friend's bloody, beat up appearance she points serenely to the Owl who is sitting at the bottom of the escalator. The Owl’s bright eyes turn and focus upward towards the surface. Hand in hand Sofie and Bulcsu walk onto the escalator, a beatific look upon their faces as they rise to…

I ask you all, is Bulcsu now dead, having actually killed himself when he killed the Reaper? Is this symbolic of him now rising to heaven? (Or perhaps to hell as this case might call for..) Or has he killed off only the damaged side of his inner self? Having left his demon's behind is he now ready to live a ‘normal’ life on the surface (albeit having committed quite a handful of murders)?

Or do you believe I’ve gotten this all wrong? If so what do you think happened?

My ratings of Kontroll: LLI (long lasting impression) and a definite FAH (fun as hell!) TTTI (time till total immersion) was under 2 seconds. (see KEY written in blue on the right side of page for more abreviations!)

PS – I have added 2 new features to this blog: a small selection of my own photographs (a new set to be added on the day of each new movie posting) and a short cellphone camera clip of my fine fish friends.. Both are on the right side of the page, immediately after the ' I just watched' section.