The most obvious and significant is the heroine Murielle's decline from a beautiful, loving, young spirit to a depressed, oppressed, despairing drudge.From her honeymoon through her four child bearings she loses her sense of self, her liberty, her control over her life. Her last action is her tragic resolve to save her three daughters and one son from their being ruined by the sexist, patriarchal system that destroyed her. Though her Moroccan husband Mounir claims he doesn't want to raise his daughters in his sexist homeland, Murielle is destroyed by a European patriarch in Belgium.
Dr. Pinget provides the antithetic arc. His apparent generosity and care are gradually exposed as heartless self-serving power and authority.He pays for Mounir and Murielle's honeymoon, then agrees to join them. He shares his house with them, then to keep them buys them an estate where he again lives with them. His callousness towards Murielle drives her tragedy.
The tension between the Moroccan family and the fat, hedonistic, impotent but suffocatingly powerful white European doctor adds another compelling theme.Any move to independence is suppressed as an affront to nature and to reason.
The film opens with a woman crying, begging that her four children be buried in Morocco. So it's a whodunit. Except here the killer is the true victim.
Director Moodyson manages to keep tragedy and comedy close together, mainly because he has understood that tragedy does not necessarily mean life-threatening situations or entire families lost. It's enough with picturing a father who goes to the basement to "tinker" and then proceeds to masturbate while hammering away at the workbench. It's enough to see and hear the poor old man invite his plumber for a beer and then undo what the plumber fixed just so that he could have his company again.
This film is more about loneliness and being afraid of loneliness than anything else. And the setting is perfect: a community of extreme leftists and all that entails - ridiculous discussions of whether to ban Pippi Longstocking books (because she is a capitalist and object-oriented), free sex and liberal thinking that doesn't work.
What is most amazing about this film is actually how stunningly well the director has portrayed the era. He must have some really colorful memories of it. The music, the ideas, the stuff. It was almost creepy.
Someway the film starts interesting, but the way the auctioneer is drawn into his drama is too obvious from the beginning. I think the character has been portrayed too simplistic while the story line (at the start) requires a more subtle way of attraction. It was obvious that there is a plot waiting in the end, since there were too many hints throughout the whole movie that the viewer can make up a conclusion. The finding of even the first mechanical part made me belief that there was a play behind the whole stage, while the behavior of the auctioneer did not match his character, leading to a disbelief in the storyline. Many motifs in the story have these misconceptions. Surprised that people that mark this movie with a high rating do not see this. Acting was fine, but the movie has not been displayed in the right way.
I give it a 3 JUST because of Geoffrey Rush!
.....So it is NOT a Håkan Hellström-biography. Director duo Måns Mårlind/Björn Stein and and writer Priscilla Jackert has instead weaved together a film out of Håkan Hellströms songtext's, picked events, thoughts and characters. Like a Swedish version of Trainspotting..
Adam Lundgren does a diverse, realistic portrait of Håkan Hellström. All the other actors are also doing a hell of a trip during the 2 hour long film in an incredible way.
Känn ingen Sorg is a wonderful story, full of humor, love, some darkness, brilliant performances and loads of great music!