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Eddie the Eagle (2016) - Review in english

Some stories awaken what is best in the human being, inspiring us to overcome our limits and teaching us to believe in our dreams and never give up. This is the case of the film Eddie the Eagle, based on the true story of the English Michael Edwards, better known as Eddie "The Eagle" Edwards, who since childhood had a dream to participate in the Olympic Games. Without being from a rich family, gangling, having to deal with knee problems for much of his childhood and having to wear glasses because he was nearsighted, his chances of participating in the Olympics was minimal. After trying unsuccessfully various types of sports throughout his childhood and adolescence, Eddie decides to venture into downhill, selecting the 1988 Winter Olympics as his goal. After a disastrous presentation to some sponsors, he is cut from the British Olympic ski team. Heartbroken and about to give up, Eddie bet in ski jump as his last chance to reach his dream.

Cinema is full of motivational movies involving sport. We can cite:

Mixed martial arts: Warrior (2011);
Athletics: Chariots of Fire (1981), Unbroken (2014) and McFarland, USA (2015);
Auto racing: the documentary Senna (2010);
Basketball: Hoosiers (1986);
Baseball: The Natural (1984), Moneyball (2011) and 42 (2013);
Bobsled: Cool Runnings (1993);
Boxing: Rocky (1976), Million Dollar Baby (2004), Cinderella Man (2005) and The Fighter (2010);
Cycling: Breaking Away (1979);
Horse race: Seabiscuit (2003);
American football: Rudy (1993), Remember the Titans (2000) and The Blind Side (2009);
Artistic gymnastics: Peaceful Warrior (2010);
Ice hockey: Miracle (2004);
Marathon: Atletu - The Athlete (2009);
Motorcycling: The World's Fastest Indian (2005);
Swimming: Swimming Upstream (2003);
Rugby: Invictus (2009);
Diving: Breaking the Surface: The Greg Louganis Story (1997);
Taekwondo: Best of the Best (1989).

Eddie the Eagle's script is all written around the protagonist, played in his childhood and adolescence by brothers Tom and Jack Costello, respectively, and in his adulthood by the charismatic Taron Egerton (known for Kingsman: The Secret Service - 2014). Egerton acting may seem forced, but when confronted with the real Eddie Edwards we realized that he perfectly embodied all twitches that the character demanded. Eddie is the typical anti-hero: with an appearance that nothing resembles the figure of the classic hero, with his nerd, weirdo and gawky way, having worn glasses for life and a device in the legs as a child, which obligatory relate to the movie Forrest Gump (1994), he is the typical underdog. And this is perhaps the biggest hit of the film: deal with our prejudices and with the standards imposed by society.

When taking contact with Eddie, any viewer would believe he could do something relevant? But throughout the film, as we are introduced to a young man who despite the physical problems that could be used as an excuse, is determined and sure of himself, naive and dreamy, our perceptions and interpretations of the protagonist are put to the test. That different and strange guy could indeed make a difference.

The cast was well chosen. Eddie's mother, Janette, played by Jo Hartley (known for Dead Man's Shoes - 2004) is responsible for supporting and encouraging her child's dreams, while the father, Terry, interpreted by Keith Allen (known for Trainspotting - 1996) is the counterpoint, reminding Eddie of the difficulties and wanting his son to follow his footsteps by working in construction. Bronson Peary, the problematic sportsman, which is already a cliché in this type of film, is played by Hugh Jackman (always remembered for his portrayal of Logan character in the X-Men franchise). The commentator of the BBC, interpreted by Jim Broadbent (known for Iris - 2001), provides good funny moments.

The director who is also an actor, Dexter Fletcher (starred in Kick-Ass - 2010), used humor to soften the story. Despite the great photography, the film uses too much clichés and shows some unnecessary scenes. Fletcher could have further explored the action scenes (the ski jumping) and he didn't put Eddie's postscript (what Eddie did next) at the end of the movie. The script made some adjustments in the real story for the sake of a good narrative, and the modifications are portrayed (with spoilers) here and in this review. The soundtrack fits well in the film, conveying the necessary emotion at different times, whether action, drama or suspense. The music called Jump, by Van Halen, was used as an analogy to the practiced sport: ski jump.

Eddie the Eagle is a film about overcoming oneself with a cheerful and fun tone, rescuing social values long lost in society. At a time when having is more important than being, in which win, whether in sports, business or any other situation imposed by life, is more important than compete, we need to relearn that what is important is not the destination, but the journey.

Original title: Eddie the Eagle
Director: Dexter Fletcher
http://www.imdb.com/title/tt1083452/

Scandinavia always surprises us with different movies and with very peculiar storylines. Based on the bestseller book by Fredrik Backman, En Man som Heter Ove (original title), or A Man Called Ove (in english), tells the story of Ove, an old grumpy widower, 59 year old, who despite having been deposed some years before as president of the residents association continues to watch over his suburban neighborhood with an iron fist. Depressed, lonely and tired of the monotony of everyday life, Ove is a picture of a person who has given up everything, including himself. Stubborn, moody, with firm beliefs and rigid routines, his approach to life and negative view of the world are put to the test when a new family moves into the house across the street.

To talk about old age and its dilemmas has never been an easy task, both in real life and on the big screen. Sometimes it seems that society wants to avoid or forget it, as if it was a distant drama to which we will never live or witness. Thus, it is common that actors with advanced age only interpret supporting characters, with roles that are far from the narrative's focus. However, when they had the opportunity to star in the leading role, they gave birth to great characters and great films. Among them are: Make Way for Tomorrow (1937), Umberto D. (1952), Ikiru - To Live (1952), Smultronstället - Wild Strawberries (1957), Cocoon (1985), Börn Náttúrunnar - Children of Nature (1991), Grumpy Old Men (1993), The Straight Story (1999), Elsa y Fred - Elsa & Fred (2005), Gran Torino (2008), Amour (2012), Nebraska (2013), 45 Years (2015) and the animation Up (2009).

With a sincere, poetic and humorous story, the swedish writer-director Hannes Holm (known for Adam & Eve - 1999, Klassfesten - The Reunion - 2002 and Himlen är Oskyldigt Blå - Behind Blue Skies - 2010) addresses a sensitive issue in a subtle way. Humor is one of the key parts used in the process, being present at various times throughout the film. But we are also exposed to sad and tough situations as the story unfolds.

The action takes place both in the present and in the past. At first we are introduced to the older version of Ove, played by Rolf Lassgård (known for Jägarna - The Hunters - 1996, Under Solen - Under the Sun - 1998 and Efter brylluppet - After the Wedding - 2006). From the first impressions we encounter a guy who is rough, irritating, without kindness and also is the terror of his suburban neighborhood. He daily patrol the streets and sidewalks in search for irregularities and breaches of rules, which must be followed rigorously. Subsequently, through the use of flashbacks, we are introduced to his child version (Viktor Baagøe) and younger version (Filip Berg, known for Ondskan - Evil - 2003 and Odödliga - Eternal Summer - 2015). Thus, gradually, his past is revealed, explaining his current behavior, which makes us reflect and reassess our views on the main character.

The film deals with current concepts and issues such as immigration, globalization and changing values over generations. Parvaneh, played by Bahar Pars (she acted in När Mörkret Faller - When Darkness Falls - 2006), has Persian origin and is the woman of the family who moves into the house in front of the protagonist. Contrasting with Ove's personality, she is passionate and opinionated, being responsible for bringing heat to the protagonist's cold relations. Parvaneh portrays the case of so many other refugees who emigrate to European countries in search of a better life.

The identification of the main character with the cars of Saab and the consequent dispute with the cars of Volvo, originally two Swedish brands, represents the nationalism. Ove was from a time when the products (consumer goods) were made within the country. Today, with global value chains and the internationalization of the economy, the goods have no borders and brands have become global. Half of Saab was bought by General Motors in 1990 and the remainder in 2000. In 2012 the company was purchased by China National Electric Vehicle Sweden AB. As for Volvo, in 1999 it was sold to Ford Motor Company. In 2010, Ford agreed to sell Volvo to the Chinese Zhejiang Geely Holdin Group.

Ove, as a small-town boy, lived in a different type of Sweden and world. Life had a slower pace and independence and manual skills, such as carpentry and mechanics, were more valued. The difficulties of the younger generation are expressed, for example, in the lack of interest and patience to read manuals or in how a simple installation of a washing machine becomes a challenge.

Apart from the excellent performance of Rolf Lassgård in the protagonist's caricatured role, the soundtrack is a treat apart. Engaging, it is captivating in the patrol's moments through the neighborhood and it's sentimental in the drama scenes. All the production work was very well done, from the cameras, photography, to the costume through the ages. Here we have to highlight a weak point in the script and direction. Although the first half of the film is great, as the story develops and its message and meaning are revealed, the director hastens to complete the book's plot and the movie loses some of its strengths in the second half. Some narrative links should have been better developed, as the change experienced by the main character and how the local community see him after that. As a final message Holm points out that life makes more sense when is shared with others. The film had potential to be much more than it was.

Original title: En Man som Heter Ove

English title: A Man Called Ove

Director: Hannes Holm

http://www.imdb.com/title/tt4080728/

Every time someone talks about the film Scent of a Woman (1992) comes in memory the modern classic starring Al Pacino, which finally recieved the Oscar award for Best Actor. What few people know is that this movie is a remake of an Italian film Profumo di Donna (Scent of a Woman - 1974), adapted from the literary novel Il Buio and Il Miele - 1969, by Giovanni Arpino, and directed by Dino Risi (known for Una Vita Difficile - A Difficult Life - 1961, II Sorpasso - 1962 e I Mostri - Opiate '67 - 1963).

Profumo di Donna tells the story of Captain Fausto Consolo (Vittorio Gassman, known for I Soliti Ignoti - Big Deal on Madonna Street - 1958, La Grande Guerra - The Great War - 1959, II Sorpasso - 1962, L'armata Brancaleone - For Love and Gold - 1966 e C'eravamo Tanto Amati - We All Love Each Other So Much - 1974), a retired soldier who lives alone with an old aunt in the city of Turin and decides to hold a 7-day train trip to Genoa, Rome and Naples. Having been blinded in an accident in a military operation, the army appointed a young soldier to accompany him on the tour, Giovanni Bertazzi (Alessandro Momo, known for Malizia - Malice - 1973), to whom Fausto nicknames Ciccio. Ruled by women and alcoholic beverages their adventures seem innocent and fun, but as the journey unfolds, an obscure purpose is revealed.

Gassman's interpretation is one of the highlights of the movie and he even received the award for Best Actor in Cannes. The actor manages to impeccably convey all the internal conflict of the main character: Faust is a blind man and maimed left hand, melancholic, cynical, exhausted from his life's routine, behaving in a cruel and arrogant way, despite having acquired notable ease of movement and precise notion of the objects location. Ironic and uninhibited, he acts in a natural way, as if he could see, and takes advantage of his privileged condition (blindness) to make fun of dissimulation and pretense of society, with disdain by the conventions of compassion which he is also hostage. This ambiguous feeling of admiration and disgust for a character who has a grandeur that sometimes makes us even forget his physical limitation, but who is also unpleasant, bitter and sarcastic, reflects his conflictive personality, but at the same time also charismatic. Womanizer and drinker, blindness accentuated his other senses, especially the sense of smell. Even from a distance the presence of attractive women is perceived by scent, which leaves him ecstatic, making a perfect analogy to the title of the film: Profumo di Donna (Scent of a Woman).

The film shows the efforts that a person can do to hide their feelings and feed a false appearance of strength and security. The internal tension which Faust suffers guides his behavior and relationships with the people around him. In rejecting compassion and pity he ends up also rejecting affection and love. So the journey of the main character symbolizes a journey in search of himself, self-acceptance and the consent of other's people affection.

With a parallel plot, the film highlights the contrast between the captain and the young soldier. While Giovanni is a mixture of inexperience, naivety and insecurity, Faust stands for his experience, invulnerability and security that he appears to have. Rather than being a victim of a misfortune, the captain shows himself as the true guide in the story, reversing the roles between the blind man and his companion. As the trip goes by the young soldier learns life lessons, such as how to distinguish between appearance and reality, love and fraud, words and actions. The interpretation of Alessandro Momo is quite convincing, making him another standout in the movie. It was a shame his career being interrupted so early. The actor died in a motorcycle accident a few days after the film was completed. Sara (Agostina Belli, known for Mimì Metallurgico Ferito Nell'onore - The Seduction of Mimi - 1972 e Telefoni Bianchi - The Career of a Chambermaid - 1976) completes the trio of main characters. She is a young woman in love with Faust and does not conform to his sickness, being the only one who knows all his facets. Here we must highlight the work of the director Dino Risi, who manages to capture the best of each actor, interweaving good comedic moments with great dramatic situations.

The soundtrack is beautiful, managing to convey different feelings interpreted by the actors in the scenes, aside from involving the viewer in the narrative. The script builds up fine characters, developing brilliant dialogues. Gassman's gesticulation, Momo's self-restraint and Agostina's sensuality are noteworthy. The movie won two seats among the Oscar nominees: Best Adapted Screenplay and Best Foreign Film.

With brief notes, the photograph depicts a casuistry time of Italian society, full of meanings. On the streets, on trains, in hotels, terraces, at parties and in their own language, slowly arises a profile of a society. The Italians are cheerful and receptive, talkative, using a lot the hands to gesticulate, speaking loudly and not sparing swear-words in their conversations. They are religious, romantic and spontaneous, but as all patriarchal society, they have very strong male and female stereotypes. Faust is an authoritarian man, who has to be seen as strong, an imposing figure. Sara reflects the situation of women, in which they dream to feel indispensable to the life of the men they love. All these aspects clearly translate the Mediterranean spirit.

Finally, as it should be, a brief comparison between the American version (1992) and the original movie (1974) is inevitable. The remake of Scent of a Woman is completely different from the Italian film. Relying on Hollywood aspects, such as the need to have an episode of trial, the American version lengthen the story too much, spending too much time with the student, bad acted by Chris O'Donnell (Batman Forever - 1995 e Batman & Robin - 1997). The scenes of tango and Ferrari are some of its strengths, but by opting for melodramatic twists, it ends up falling in some clichés. Its great success and prominence is the exceptional performance of Al Pacino (to name a few of his films: The Godfather - 1972, Serpico - 1973, The Godfather: Part II - 1974, Dog Day Afternoon - 1975, And Justice for All - 1979, Scarface - 1983 e The Godfather: Part III - 1990). The two main actors in each version (Al Pacino and Vittorio Gassman) are impeccable, but the original movie has a special charm, being in many ways, more humane, sensitive, stripped-down and engaging. It's a pity that the American remake completely lost the Italian culture, both of everyday life in Italy and the Italian way of doing cinema of the 70s.