Although the sets, cinematography, and action in Heaven's Heart are subtle, the complex characters and story create an intriguing drama about finding and losing love and marriage. Ultimately, this subtlety is provocative and telling of the true nature of each character. The film centers around the marital dynamics of two middle aged upper class couples, Lars and Susanna and their close friends Ulf and Ann. Both have been married for many years. As the story unfolds, we learn of their infidelity and the relationships that develop outside of their marriages.
The temporal setup in the narrative is carefully crafted to capture the viewer's attention. The film begins in a disjunct scene in a lawyer's office where we learn that Susana and Lars are to be divorced. They do not look at each other, but rather stare somberly off into the distance. Melancholy piano music emphasizes the dark nature of the events to come. However, we move not forward in time but backwards, and the story that follows is one that explains the events to come. The narrative is intriguing in this way, for from the initial scene one could assume a fairly run-of-the-mill divorce. However, we learn through the flashback of the complex relationships that have developed between the two couples, turning each marriage on its head. The dark tone of the opening scene is carried into the past with a continuation of the somber music. Despite the fact that Susanna and Lars seem happy, because the viewer knows what will ultimately occur in their marriage, we are eager to see how their marriage spirals into disarray.
After the somber tone of the film is set in the first scene in the lawyer's office, as the flashback begins the dialogue in the first dinner party scene is critical in how we learn about the characters. Dialogue is carefully crafted so that we learn about the characters sets us up for rest of story. In the initial scenes, we witness private conversations between the men and women that set. We learn that Anna is disgusted by physical intimacy, but Susanna appreciates it and seems to be in a healthy relationship. Through the men's discussion, we learn that Ulf has considered having an affair, but that Lars is incredibly against the idea in his own marriage despite his apparent unhappiness. These conversations are meant to prime the viewer's expectations of each character before the main plot of the narrative moves forward, and is done so expertly so that we may understand just enough about each character to be surprised by the event that follow.
As the plot develops, cinematography plays a critical role in conveying our understanding of the events in the narrative and the characters in the story. Throughout the film, characters are framed by dark hallways and spaces, such as when Lars first breaks down to tears in front of Anna. This further perpetuates the somber tone of the film. Especially important are the extreme close ups of character's faces that occur whenever a serious, intense conversation is taking place. In the scene at the first dinner party when we learn that Susanna and Ulf are not opposed to infidelity in marriage when it is in the name of true love, the effect of the emotional repercussions on each character is felt profoundly by the viewer because of the tight framing of their faces. The close ups show the intensity and weight of this singular conversation in each of characters lives. They signify the fundamental differences between the characters, and the consequences that this conversation will have on each of their lives. The tight framing is only broken when the Susanna leaves the room and the conversation is at an end, but returns in various other points in the narrative when discussions are involved and important.
Although the setup of the film is relatively simple, with only two main locations and four actors, the complex cinematography and dialogue create an extremely compelling story. In fact, the lack of superfluous details serves to further highlight the story. This is reminiscent of other well-known Nordic styles, such as the profound realism and emotion in the films of Ingmar Bergman and even the intense starkness of the raw stories, characters, and emotions in Danish Dogme 95 films. In particular, many elements of Heaven's Heart parallel Vinterberg's The Celebration in that the main events of both stories occur in confined, familial gatherings that quickly go awry. Both films emphasize the inescapable nature of these conflicts through their respective cinematographic styles. Although some elements of this previous trend are carried over into Staho's work, the film overall does not read like these films, rather, it more has the feel of a theatrical production.
Overall, the subtle realism of the film serves to profoundly convey the heart wrenching dynamics of two disastrous marriages. It is no surprise that both actresses were nominated/selected for the Swedish film awards, the Guldbagge. With its stark, raw emotions and moving storyline, Heaven's Heart serves as a compelling look into the darker side of love and marriage.
The temporal setup in the narrative is carefully crafted to capture the viewer's attention. The film begins in a disjunct scene in a lawyer's office where we learn that Susana and Lars are to be divorced. They do not look at each other, but rather stare somberly off into the distance. Melancholy piano music emphasizes the dark nature of the events to come. However, we move not forward in time but backwards, and the story that follows is one that explains the events to come. The narrative is intriguing in this way, for from the initial scene one could assume a fairly run-of-the-mill divorce. However, we learn through the flashback of the complex relationships that have developed between the two couples, turning each marriage on its head. The dark tone of the opening scene is carried into the past with a continuation of the somber music. Despite the fact that Susanna and Lars seem happy, because the viewer knows what will ultimately occur in their marriage, we are eager to see how their marriage spirals into disarray.
After the somber tone of the film is set in the first scene in the lawyer's office, as the flashback begins the dialogue in the first dinner party scene is critical in how we learn about the characters. Dialogue is carefully crafted so that we learn about the characters sets us up for rest of story. In the initial scenes, we witness private conversations between the men and women that set. We learn that Anna is disgusted by physical intimacy, but Susanna appreciates it and seems to be in a healthy relationship. Through the men's discussion, we learn that Ulf has considered having an affair, but that Lars is incredibly against the idea in his own marriage despite his apparent unhappiness. These conversations are meant to prime the viewer's expectations of each character before the main plot of the narrative moves forward, and is done so expertly so that we may understand just enough about each character to be surprised by the event that follow.
As the plot develops, cinematography plays a critical role in conveying our understanding of the events in the narrative and the characters in the story. Throughout the film, characters are framed by dark hallways and spaces, such as when Lars first breaks down to tears in front of Anna. This further perpetuates the somber tone of the film. Especially important are the extreme close ups of character's faces that occur whenever a serious, intense conversation is taking place. In the scene at the first dinner party when we learn that Susanna and Ulf are not opposed to infidelity in marriage when it is in the name of true love, the effect of the emotional repercussions on each character is felt profoundly by the viewer because of the tight framing of their faces. The close ups show the intensity and weight of this singular conversation in each of characters lives. They signify the fundamental differences between the characters, and the consequences that this conversation will have on each of their lives. The tight framing is only broken when the Susanna leaves the room and the conversation is at an end, but returns in various other points in the narrative when discussions are involved and important.
Although the setup of the film is relatively simple, with only two main locations and four actors, the complex cinematography and dialogue create an extremely compelling story. In fact, the lack of superfluous details serves to further highlight the story. This is reminiscent of other well-known Nordic styles, such as the profound realism and emotion in the films of Ingmar Bergman and even the intense starkness of the raw stories, characters, and emotions in Danish Dogme 95 films. In particular, many elements of Heaven's Heart parallel Vinterberg's The Celebration in that the main events of both stories occur in confined, familial gatherings that quickly go awry. Both films emphasize the inescapable nature of these conflicts through their respective cinematographic styles. Although some elements of this previous trend are carried over into Staho's work, the film overall does not read like these films, rather, it more has the feel of a theatrical production.
Overall, the subtle realism of the film serves to profoundly convey the heart wrenching dynamics of two disastrous marriages. It is no surprise that both actresses were nominated/selected for the Swedish film awards, the Guldbagge. With its stark, raw emotions and moving storyline, Heaven's Heart serves as a compelling look into the darker side of love and marriage.