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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Headhunters

HEADHUNTERS (Three Stars)
Norway: Morten Tyldum, 2012

Think you’ll be bored at a movie about corporate headhunting and a missing Peter Paul Rubens painting? Not necessarily. The Norwegian neo-noir Headhunters may have its flaws — outrageous improbability chief among them — but it’s definitely no bore. In fact, the movie pretty well blasts you away as you watch it , employing heavy doses of  hot sex, cold brutality, and a twisty, frequently surprising crime plot to put you on the edge of your seat while then trying to knock you right out of it.

Based on a best-selling novel by Jo Nesbo — Norway‘s most popular and highly regarded crime novelist, and the creator of the Harry Hole detetcive series — Headhunters revolves around a diminutive anti-hero, 5’6” Roger Brown (Aksel Hennie), who looks a bit like a shrunken Chris Walken, works as a headhunter and CEO recruiter, and dabbles in art thievery on the side. Roger, a self-professed “over-compensator,” is also married to an intimidatingly tall and beautiful Diana (Synnove Macody Lund), and he pulls his jobs with the unabashedly pathological and somewhat flipped out heist man Ove Kikerud (Eivind Sander), an explosive creep with nerves of ice and a taste for booze and Russian hookers.

Into Roger’s life comes the intimidatingly tall and handsome Clas Greve (Danish actor Nicolaj Coster-Waldau), an ex-Dutch commando who also happens to have his hands on a long-missing, incredibly valuable Rubens painting, titillating the little headhunter/thief on two levels, and maybe more. Roger’s life soon turns into a bloody mess.

The film, however, is slick and fast and gorgeously shot — if sometimes almost criminally over-the-top. Director Morten Tyldum (a Norwegian TV commercial whiz), cinematographer John Andreas Andersen and editor Vidar Flataukan, all succeed at times in knocking our socks off — or at least in getting them pulled pretty far down off our toes. It’s hard to like anyone here much except Lund’s Diana — and she might have worked better as a femme fatale. But the four main actors are all compelling, and Hennie and Coster-Waldau make a sparky pair of Mutt and Jeff antagonists. You may be irritated by Headhunters. But you probably won’t be yawning — unless you were exhausted to begin with.

Norway’s Nesbo is a thriller-writer in the Steig Larsson tradition, mixing sex, violence and social corruption with complex criminal behavior and dense plotting, and generating huge worldwide sales. Nesbo’s noir novels are touted in the press notes as having been published in 140 countries and translated into 35 languages. He also scored the top three places in a recent Norwegian newspaper poll (by the journal Dagbladet) on Norway’s all-time-best crime novels — and then took five more slots among the next eight. Hollywood is apparently impressed: Martin Scorsese and Mark Wahlberg are among the names that have been mentioned for the seemingly inevitable American remakes.

But I suspect those remakes, when they come, may not have quite the pizzazz of the Norwegian novels, or this movie.. It’s a racy, violent, hell-on-wheels neo-noir that makes Norway look, for at least a little while like the capitol of fictional crime — and maybe of overscompensation too.

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Wilmington

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé