Headhunters. Frenetic northerly action
Headhunters. Frenetic northerly action
Original title: Hodejegerne.
Direction: Morten Tyldum.
Country: Norway. Year: 2011.
Duration: 101 min.
Interpretation: Aksel Hennie (Roger Brown), Synnøve Macody Lund (Diana Brown), Nikolaj Coster-Waldau (Clas Greve), Julie R. Ølgaard (Lotte), Daniel Bratterud (Vakt), Eivind Sander (Ove).
Script: Ulf Ryberg and Lars Gudmestad; based on the novel of Jo Nesb ø.
Production: Marianne Gray and Grasp Vatn.
Music: Jeppe Kaas and Trond Bjerknaes.
It photographs: John Andreas Andersen.
Assembly: Vidar Flataukan.
Production design: Nina Bjerch Andresen.
Wardrobe: Karen Fabritius Gram.
Distributor: Alta Classics.
I release in Norway: On August 26, 2011. I release in Spain: On August 24, 2012.
Qualification for ages: Not recommended for 16-year-old minors.
At Roger the life him smiles. It is had by everything to what a man can aspire: a woman, high and fair-haired, very nice; an equal house of exquisite and an enviable work that brings a few good benefits. He is the headhunter the most reputable (headhunter) of the whole Norway. He is married with Diana who is a proprietress of an art gallery and they live in a luxurious mansion. To maintain this standard of living Roger devotes himself to steal works of art. In the gallery, its wife presents him to Clas Greve that has a candidate's double condition. On the one hand supervised by manager of an important company for which Roger is working and for other to that of being stolen since it possesses a valuable picture. Greve will not be content with a simple interview for the position. Both, interviewee and interviewer will begin its particular fighter.
The movie departs from a topic: What does do an uncle of scarcely meter and a half (1,68) of height with a blonde's almost two meters piece? Roger Brown (Aksel Hennie) is the headhunter with more reputation of Norway, but its self-esteem takes it as the soils. This "limitation" fulfills it with a good closet, with the last model of car and with one of the best houses of the city where it resides along with its wife. Everything does it (or this way he thinks it) to be able to "maintain" its wife next to you, Diana (Synnøve Macody Lund), a statuesque one fair-haired, nice and talented woman. Roger is a crafty headhunter who while he studies the profile of the candidate for a certain position, on the other hand tries to worm out information to see if its house is the suitable one to perpetrate a theft. Because Roger devotes himself to that to be able to maintain the standard of living that demands this composure from him. He looks for works of art between the possessions of its candidates and to know when they can commit the crime in connivance with an associate who controls the safety in the houses. An activity that serves to him equally to pay this high price for maintaining the status and, on the other hand, to satisfy its greed. He is hoping to steal the work of art that it withdraws from him forever and devotes itself to what better he can do: to select personnel. For this company there is provided with the support of a friend, of an associate, Ove (Eivind Sander) who is used in a safety company with which it has free access to the houses.
Diana Brown with the help of its husband has just opened an art gallery. It celebrates its opening to which the living forces of the city come. One of these persons is a police officer the one that likes more the camera than the office (and that will receive special leading role in the resolution of the movie) and other one is a guaperas that comes to the city with the vitola of there is taking a rest of its work (an important Dutch company that develops systems with GPS) and initiates now a reflection period while he takes charge of the house of its grandmother. It is a question of Clas Greve (Nikolaj Coster-Waldau, actor who will turn out to be more known to us by these homes for its participation in Blackthorn de Mateo Gil, but also by its recent participation in the role of Jamie Lannister in Game of thrones) so highly and so nicely as the proprietor of the gallery, which causes Roger's jealousy nothing more to present it to him its wife. Greve reveals Diana who has in its power, for heredity of its grandmother, a Rubens (The hunting for the wild boar of Caledonia) that got lost after the Second World war like one of so many works that the Nazi empowered. This fact makes to jump all the Roger's avidity. And here the double hunting begins: one for be doing by this work of art and other with the position to which he aspires. And, the thief of white glove, of pursuer will turn in chased by a sinister, Machiavellian and awesome personage who will not repair in bullets for obtaining its target.
Headhunters is a frenetic action, it is a sinvivir, with a few continuous scares and a frantic rhythm. It rests on an excellent script that is the result of the adaptation of the novel homónima of Jo Nesb ø (they give desire of going quickly to the bookstore or the library). A black novel that so much abounds in last times and that constitutes an excellent example of the good one to do literary northerly. The rise of the detective story has allowed to give a nut return to the formulae classic of intrigue renewing the genre with a northerly fresh air much of being grateful. Big part of the success of this tape owes to the worn out script that with a pair of surprising drafts maintains us in tension without we losing of sight the plot and the credibility of the argument. Inside this script the personages who take the weight of the history are despicable, but they are painted the portrait perfectly (big work of the casting to find a Roger and magnificent Clas in its roles).
The director Morten Tyldum manages to realize a movie with personality, nothing superficial. There sublies a fierce criticism of the police (that imports for him more the results than the resolution of a case – this circumstance that also we have seen recently in Silence of ice of Baran bo Odar-); to the career for the power, for coming to the highest thing, inside the professional field, demonstrating an excessive ambition without conscience. Also it is a criticism of the presumption, on having wanted to live over our possibilities and show off that we are capable of that and of more. These false appearances, the director takes it until the end of the movie with the case resolution contemplating the alertness cameras. Nothing is what seems.
Finally, he would emphasize two scenes that almost are in the same sequence. The first one, is a short plane. It is a question of the eye that almost leaves of the orbit for Roger. From the interior of the service he meditates as there approaches its enemy accompanied by a tremendous pitbull, a threatening dog, that we all imagine that it can do to him at the moment when its proprietor releases it. This eye full of dread, which we see across a hollow is the reproduction of the fear, but a frightening fear, with capital letters. And the second one, the eschatological scene where the protagonist has to submerge in a black well to flee of its enemy. It is disgusting, but I love the power that has the image that floods everything with a sickening smell and, practically, the whole room is stirred in its seat and scarcely he can contemplate the screen. Magnificent, magnificently disgusting.
Thriller of action, northerly, with esthetics and achievement very different from the habitual American movies. Very advisable. Go to the movies!
The tráiler in Spanish:
Filed file: Movies
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