Comment: The Hunting / The Hunt. The loss of the innocence. The last movie of Thomas Vinterberg.
The Hunting / The Hunt
The loss of the innocence
Movie: The hunting (The hunt).
Original title: Jagten.
Interpretation: Mads Mikkelsen (Lucas), Thomas Bo Larsen (Theo), Annika Wedderkopp (Klara), lasse Fogelstrøm (Marcus), Susse Wold (Grethe), Alexandra Rapaport (Nadja).
Direction: Thomas Vinterberg.
Script: Tobias Lindholm and Thomas Vinterberg.
Year: 2012. Duration: 111 min. Genre: Drama.
Production: Morten Kaufmann and Sisse Graum Jørgensen.
Music: Nikolaj Egelund. It photographs: Charlotte Bruus Christensen.
Assembly: Janus Billeskov Jansen and Anne Østerud.
Production design: Torben Stig Nielsen. Wardrobe: Mannon Rasmussen.
Distributor: Golem. I release in Denmark: On January 10, 2013. I release in Spain: On April 19, 2013.
Qualification for ages: Not recommended for 12-year-old minors.
Lucas confronts its new situation. Brought in in the forties it is divorced, with an adolescent son and developing its work in a school of infantile education. When everything seems to head towards a stable situation, a fortuitous lie puts upside down this ostensible stability. First the surprise, later the suspicion and finally the social condemnation inside a small community they will do that Lucas has to confront an undesirable situation to defend its integrity.
After these four strokes of the synopsis there is one of the best movies released during this year. We are going to put names to the protagonists of this interesting Danish movie that has obtained several awards and that was presented in the past edition of the festival of Cannes.
Lucas (Mads Mikkelsen) on the quarantine, good-looking, affectionate, cordial, kind and humble man. He has got divorced of its wife and he is trying to obtain the care of its adolescent son. It has found work in a small town like teacher of infantile education. Around him it has a friends' good heap of the infancy. A community stuck to an ancestral tradition: when the son fulfills 16 years and obtains the firearms license, the whole people goes to hunt a deer, giving him the fire baptism. Lucas is happy playing with the children until one of them provokes the disaster. Klara (Annika Wedderkopp), the younger daughter of its best friend, of only four/five years has idealized Lucas. Before a small disappointment it releases an innocent, fortuitous and deplorable fib that will turn into an abominable false report that will alter the life in the people. The director of the center, Grete (Susse Eold) before such an accusation handles the situation, in principle, carefully to derive in a final nonsense. Socially Lucas is condemned and it will ruin its life putting in danger the proper care of its son, its labor life and its sentimental life.
Danish movie that comes to us from the hand of its director Thomas Vinterberg (Celebration left a big mouth flavor with one of its first movies, 1998). This director along with Lars von Trier 95 created the cinematic movement Dogma in 1995, justly in the year that was celebrating the centenary of the birth of the movies of the hand of the brothers Lumière. They were postulated for doing a movies based on the values traditions excluding the special effects or the technology. One of the premises was the search of a pure movies concentrating on the history and on the interpretation of the actors, pushing back the handling of post-production and other technical boasting. The first movie that was rolled following these norms was a Celebration that obtained an award in Cannes. There were times in which it was rolled by the camera in hand. But this avant-garde movement had an ephemeral life. In 2005 it disappeared. As curious note in these postulates there was one who was saying:« the director must not appear in the credit qualifications». Three big movies take its stamp: the mentioned Celebration, The idiots, 1998 and Dogville, 2003 of Lars von Trier. Be as it will be the movement Dogma sat the bases for a movies with an ethical, esthetic and narrative quality proposal. Today the Danish movies happens for being an awkward and free movies.
Thomas Vinterberg places us before a moral debate with a delicate topic and that has full validity. Although in the movie he speaks about abuses to minors, the situation through that its protagonist lives can be extrapolated to other circumstances. It does not stop being a moral and ethical judgment and the society condemns the suspect before the first indications of guilt, which do not happen of there are alone that, indications. Then it is when the real hunting is tackled. And those that are your neighbors give you the back, and those that your friends are push you back, you are closed by the doors of what earlier was its hearth, but also your lounge of being, your place where you have shared a coffee, a dinner, a party. What Lucas receives is the judgment of the rabble and only it receives the support of the meat of the same meat, of its son Markus (which its godfather will join later).
There does not fit suspense of the innocence or guilt of the protagonist. But a doubt is always going to have left us. And if it is guilty? On the other hand we have the position of a mother. A mother protagonist who culpabilizará of porqué could have spent what it has spent. But also we can meet another position that is that of the mother spectator who probably thinks if that happens to me, I kill it, straight.
It is difficult to think about another actor to play Lucas's role. Mads Mikkelsen is haughty, believable, convincing and emotive. There is the one who begins calling him Scandinavian Robert de Niro. The final scene of the interior of the church in full celebration of the Midnight Mass is to frame. Previously during good part of the tape were empatizado so much with him that we feel the injustice and the despondency and estámos wishing him that please not to get up, now inside the church, I did not throw its life to lose (more than it is already).
We have seen Mikkelsen like banker in Casino Royale (Martin Campbell, 2006) and recently in A real matter (Nikolaj Arcel, 2012), and can see it in a series that it has just begun Hannibal in the one that gives life to the mythical personage of Hannibal Lecter. Next to you a kidling who puzzles us, Annika Wedderkopp. In these first events of the movie, when it maintains the look to the camerawoman, to the speaker who is interrogating her and does grimaces as if there were tics, they are really prodigious. Klara they captivate you and you feel a powerful attraction it was doing this pequeñaja that inspires a big tenderness to you. She is not guilty of anything.
Technically the movie proves to be brilliant and we can see some of that beginning of Dogma 95 as it is the use of the natural light (the scene of the dinner with sails in the country-house or when it discovers photos with the light of a cigaret lighter) and the use of the camera in hand that provides a movement of the scene that helps to create certain tension. The history is well constructed thanks to an impeccable and original script with a few quite outlined personages and scenes of local customs and manners. One of the big achievements of Vinterberg is that in the beginning there is presented to us a series of innocent, seemingly banal images, but that when it begins the conflict we have them there recorded in our mind (the games with the children, the accompaniment to the bath, are some of them). These proper touches of a teacher turn out to be excellent as there are the tic or the manias of the girl Klara and this other of humor with the dog that barks on having pronounced certain name.
So far everything good. The final resolution is not the most guessed right. Not to reveal anything alone I will say that it is as if the director had forgotten the previous thing and that so correctly it has told us to happen to narrate what we could give understood perfectly without being so explicit. It is a sorrow. As that toreador who begins to kill and fails with the sword, Thomas Vinterberg does not finish off the task.
Tense, brutal, impactante and hit are some of the adjectives with which we can qualify in The hunting. A big movie, brave and rough, which reports a raw drama. We help in The hunting feeling fear and disgust for an accusation on a few depraved acts and that, in major or less measurement, offers a current portrait of our society.
A condemnation pronounces itself and comes to put an end to a fact, but an acquittal does not clear the suspicion. And a shade will always spread on the accused, be or not innocent, be or not guilty. This doubt will destroy the whole social enrichment that you have been constructing along your life. Go to the movies and discover if we all are innocent or have something of guilt!
I leave a tráiler to you:
Filed file: Movies
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