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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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“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
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