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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

TIFF12 Review: Love is All You Need

Susanne Bier’s latest film, Love is All You Need, takes an accessible, easy-to-digest premise – at their children’s wedding, a man who’s closed himself off to love meets a sympathetic woman whose marriage is falling apart – and makes of it a much better film than it sounds on paper, thanks in no small part to a smart screenplay by Anders Thomas Jensen, who’s just good enough at storytelling to pull it all off. I enjoyed this film quite a lot, although I went into it fully prepared for it to be overly saccharine, based on the catalog description. It’s not. Bier and Jensen have crafted an entertaining little slip of a story here, quite Danish in style and with bit of a humorous bent, and if it’s not taking itself too seriously, well, it is at least entertaining to sit with for a couple hours.

The man in question, Phillip (Pierce Brosnan, whose presence also lends heft to keep things from being too fluffy), is a wealthy trader of fruits, and we learn early on that he’s an emotionally impotent, walled-off jerk who rejects any semblance of kindness or connection from others and treats his employees like chattel. Ida (Trine Dyrholm, previously seen in weightier works A Celebration, Troubled Water, and In a Better World) comes home from her final chemotherapy treatment to find her husband, Leif (Kim Bodnia) on their couch balling Tilde-from-accounting, a hot blond who’s keen to make Leif her own man.

Everybody comes together at the wedding of Phillip’s son Patrick ( Sebastian Jessen) to Ida’s daughter Astrid (Molly Blixt Egelind). Also along for the ride is Paprika Steen as Benedikte, Phillip’s brash, brassy sister-in-law, who’s always had a thing for him, and hopes to use the auspicious occasion of the wedding to kindle a little flame of her own. Steen is a terrific actress, one of my favorites of any culture, but Benedikte is so over-the-top that she tends to play a bit more as caricature than character; then again, so is Leif a bit of a caricature, and so is Tilde-from-accounting, so perhaps it was an intentional choice on the part of Bier and Jensen to render the less appealing characters with broader strokes, all the better to contrast and define those that are more firmly on the “good” side – Ida and Phillip, of course, but also Patrick and, especially, Astrid. It all plays a bit like a soap opera, but it’s a mostly entertaining one, and the scenery, especially once everyone goes off to Italy, is stunningly lovely and will make you want to call your travel agent to start planning your next vacation.

I could see this one doing well on the arthouse circuit, boosted by its rom-com-for-older-women sweet spot and the built-in appeal of the undeniably sexy – but also here sometimes bumbling and funny and sweet – Mr. Brosnan. It’s also exactly the kind of nice little film you could easily see some Hollywood studio think about buying remake rights for, after which they would take Jensen’s charming little script, butcher it mightily, cast some older actress (Meg Ryan, perhaps, or if they were sincerely aiming for “good,” maybe Meryl Streep (visions of Mama Mia?) or Toni Collette or Patricia Clarkson in the lead role, and turn it into some overly sentimental, sappy romantic comedy targeted squarely at middle-aged housewives in the Heartland who won’t watch films with subtitles. Here’s hoping that won’t happen; Bier has already done a perfectly fine job here with Jensen’s material, and it wouldn’t hurt some folks to stretch a little and learn to watch films with subtitles anyhow.

One Response to “TIFF12 Review: Love is All You Need”

  1. marianne says:

    butcher it mightily is what will happen if this is made into a remake. leave it alone. broaden your horizons heartland housewives. learn to be a multitaskers and read subtitles. millenium trilogy fanstastic as it is. i will not bother with the lynch version.

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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