A Danish modern that seems spare and bare bones when compared to other slick art house fare that is out there like "Vanity Fair" and "Bright Young Things." But it is just that lack of gloss that gives it its strength. The semi-Dogma style fits the story of a young man living in Sweden with his beautiful actress wife who gets called back to Denmark to run the family steel mill after his father's suicide. When he had been younger, he had almost died from the stress of working in the business. Now, with his relations and the workers depending on him, he slowly starts to shut down all of his systems in order to deal with the tough decisions he has to make. This is not a new theme, but Fly gives it new life with his astringent approach.
29 Reviews
The price of inheritance.
dy15815 April 2007
Christoffer's father Aksel has died. The son of the Borch-Muller steel mill has to return to Denmark from Sweden where he had been staying with actress Maria.
So the two fly home where Christoffer's mother Anneliese (who assumed the role of the head of the house) insisted that her returning son to take over the ailing family steel company. This is much to the objection to Christoffer's sister Benedikte. But their mother is firm in her decision to appoint Christoffer as the new chief.
It was the start of disastrous events to come. With an impending merger with a French steel company, Christoffer has no choice but to fire 200 employees of his father's firm. His own brother-in-law Ulrik was among the ones (given he spread rumours about him), and it's something his own sister Benedikte could not accept. Christoffer even refused to talk about work matters with Maria, thus making their relationship soured even further.
The eventual merger went successful, but at what price?
The price of inheriting a family business too much of a burden for Christoffer, but he learns about how to deal with everyone he knows along the way, though the journey can be really painful. Family ties are also being looked into as well.
So the two fly home where Christoffer's mother Anneliese (who assumed the role of the head of the house) insisted that her returning son to take over the ailing family steel company. This is much to the objection to Christoffer's sister Benedikte. But their mother is firm in her decision to appoint Christoffer as the new chief.
It was the start of disastrous events to come. With an impending merger with a French steel company, Christoffer has no choice but to fire 200 employees of his father's firm. His own brother-in-law Ulrik was among the ones (given he spread rumours about him), and it's something his own sister Benedikte could not accept. Christoffer even refused to talk about work matters with Maria, thus making their relationship soured even further.
The eventual merger went successful, but at what price?
The price of inheriting a family business too much of a burden for Christoffer, but he learns about how to deal with everyone he knows along the way, though the journey can be really painful. Family ties are also being looked into as well.
Serious and sober
rainking_es17 May 2008
Christopher leads a peaceful life in Denmark along with his wife. He owns a restaurant and she's an actress. But their lives soon will change after the suicide of Christopher's father. He'll be forced to take charge of his father's business.
"Arven" is an intense and exceptional drama about giving' up on what we want, about that unmerciful and cold world of the big corporations. The moral is quite clear: what do you want money and power for if you lose everything you really love? Per Fly's style is serious and sober, he can't deny he's from northern Europe, 'cause in his cinema there's the same coldness than in Von Trier's or Bergman's.
*My rate: 8/10
"Arven" is an intense and exceptional drama about giving' up on what we want, about that unmerciful and cold world of the big corporations. The moral is quite clear: what do you want money and power for if you lose everything you really love? Per Fly's style is serious and sober, he can't deny he's from northern Europe, 'cause in his cinema there's the same coldness than in Von Trier's or Bergman's.
*My rate: 8/10
very good, sad film.
WilliamCKH7 November 2007
I once asked myself that if I were able to work a hard 60 hour week, every week for five years straight, and be paid over $200,000.00 per year, but be able to leave after those 5 years a millionaire and be free do do the things I really wanted to do, would I do it? The proposition sounds enticing, but I soon began to realize that after 5 years, I will have been a changed person, stressed, unhappy, and the things that I really wanted to do at the beginning would no longer have any hold on me at the end of those 5 years.
This movie made me think of that. When Christopher takes over his father's business, he was a happy man, with the best of intentions. But as the years pass, work, prestige, money blinded him from being a good husband, father, brother, friend,...etc.. and his story is told very well by the filmmaker, very simple and straightforward, and the dramatic scenes with his wife, are very realistic and not written and acted merely for dramatic effect.
I give Christopher the "dope of the year" award for treating his wife Maria the way he did. She was a beautiful, loyal, passionate, and very understanding wife. How could he not see that? and you tell yourself it's only a movie, but then in real life, you see guys like that all the time, throwing away gems while searching for rocks.
This movie made me think of that. When Christopher takes over his father's business, he was a happy man, with the best of intentions. But as the years pass, work, prestige, money blinded him from being a good husband, father, brother, friend,...etc.. and his story is told very well by the filmmaker, very simple and straightforward, and the dramatic scenes with his wife, are very realistic and not written and acted merely for dramatic effect.
I give Christopher the "dope of the year" award for treating his wife Maria the way he did. She was a beautiful, loyal, passionate, and very understanding wife. How could he not see that? and you tell yourself it's only a movie, but then in real life, you see guys like that all the time, throwing away gems while searching for rocks.
Numbing but stunning
the_usual_suspect24 December 2004
The Inheritance is the dramatic tale of Christoffer (Ulrich Thomsen), a successful restauranteur whose father dies, leaving him the family's steelworks in his will. Christoffer and his young wife Maria (Lisa Werlinder) are torn away from the city as Christoffer begins the difficult task of pulling the steelworks out of a financial slump. It is a burden that will ultimately lead to years of pent up frustration exploding in a dizzy and spellbinding fury that will decide what path Christoffer chooses to take.
The Inheritance is filmed in the rough, gritty, digital style seen before in Open Water, the grainy print complimenting the industrial symbolism that has melted comfortably into the story line. Christoffer is seen through windows in moments of reflection, the glass acting almost as a barrier between Christoffer's repression of feeling and his desire to explode, which he eventually does - shattering a glass coffee table and screaming. The glass mirrors Christoffer's personality, two characters, at different times during the film, label him "as cold as ice". His deadened character is set well against the muted colours that make up the metallic mise-en-scene.
The film is straining for realism throughout. The characters exchange dialogue that suffers for its honesty, especially in the scene in which Christoffer confronts his wife over her cheating on him: the words are boringly familiar, cliché beyond being bearable, and the film suffers for it. This does not remove any credit from the actors, Ulrich Thomsen and Ghita Nørby (as Christoffer's iron willed mother) in particular, who give realistic and where appropriate, emotionally driven performances. The quality of the acting is allowed to ferment by the director's decision to shoot using two cameras during the scenes, both of which were filming through a long focal lens, meaning that the cameras did not need to be up close to the actors. This freedom allows improvisation to reign unrestricted, and the film both succeeds and suffers for the numbingly boring realism that this creates.
Numbing, dull and bland The Inheritance certainly is, but it meanders towards an explosive climax that leaves you stunned and unable to look away. The pace then returns to its normal slow drag, and the film fades away, leaving you feeling tired and empty, but certainly impacted upon. It is a film that could not have been improved, yet its story, setting, pace and realism all contribute to make this a very difficult film to watch.
Rating: 3/5
The Inheritance is filmed in the rough, gritty, digital style seen before in Open Water, the grainy print complimenting the industrial symbolism that has melted comfortably into the story line. Christoffer is seen through windows in moments of reflection, the glass acting almost as a barrier between Christoffer's repression of feeling and his desire to explode, which he eventually does - shattering a glass coffee table and screaming. The glass mirrors Christoffer's personality, two characters, at different times during the film, label him "as cold as ice". His deadened character is set well against the muted colours that make up the metallic mise-en-scene.
The film is straining for realism throughout. The characters exchange dialogue that suffers for its honesty, especially in the scene in which Christoffer confronts his wife over her cheating on him: the words are boringly familiar, cliché beyond being bearable, and the film suffers for it. This does not remove any credit from the actors, Ulrich Thomsen and Ghita Nørby (as Christoffer's iron willed mother) in particular, who give realistic and where appropriate, emotionally driven performances. The quality of the acting is allowed to ferment by the director's decision to shoot using two cameras during the scenes, both of which were filming through a long focal lens, meaning that the cameras did not need to be up close to the actors. This freedom allows improvisation to reign unrestricted, and the film both succeeds and suffers for the numbingly boring realism that this creates.
Numbing, dull and bland The Inheritance certainly is, but it meanders towards an explosive climax that leaves you stunned and unable to look away. The pace then returns to its normal slow drag, and the film fades away, leaving you feeling tired and empty, but certainly impacted upon. It is a film that could not have been improved, yet its story, setting, pace and realism all contribute to make this a very difficult film to watch.
Rating: 3/5
A medium-sized family business
paul2001sw-114 April 2007
To start with the negative, I have two criticisms to make of Per Fly's film 'Inheritance'. Firstly, there's an "everything is beautiful" sheen to the world he depicts, manifested in the mock-idyll of the semi-aristocratic environment of its protagonists, the deep bond that connects the family business and the workers they employ, and the actors playing the characters themselves, especially the illuminating Lisa Werlinder. I appreciate that this is in part a stylistic choice, for the story is one of trouble beneath a superficially perfect surface, but real life is rarely that perfect, even when viewed superficially. Secondly, the tale of a young businessman worn down by executive responsibility and a dominant mother is fairly predicable. The latter fault is a special shame; because it threatens to mask what is a superbly directed movie, whose cast all give perfectly judged, understated performances. The opening sequences are utterly, though quietly, gripping, but once the basic scenario has been laid out, the story ceases to surprise and one can almost overlook the quality of the film-making: it takes the power of an unexpected scene (the attempted rape) to remind one just how skilfully Fly has managed to convince us of the reality of his world, excessive beauty notwithstanding. In some ways, and in spite of the more affluent setting, the story feels like something that would have been at home in Kiesolowski's 'Dekalog'; but in that work, each story took only an hour: at the same length, this could have been a knock-out. As it is, 'Inheritance' can't quite reach those heights; but it's still a compelling portrait of the way that people change.
Bergman revisited
opossumd1 March 2005
Warning: Spoilers
In my opinion, the story works at least on two levels.
There is a socio-political level, on which the apparent message is: "Capitalism tramps on human feelings". This could be (but it is just a possibility) the director's message. Evidence for it is the sympathetic way the old employees and managers are portrayed, who are felled by "rationalisation" of the firm. Conversely, the negative aspect of capitalism is represented by the cold, scheming dowager, who thinks nothing of setting 200 employees on the dole, firing her son-in-law from his decision-making post, disrupting her son's family, all for the benefit of The Firm.
The second level is Freudian. A power struggle is under way between the domineering mother (not unlike Meryl Streep's character in The Manchurian Candidate) and the rest of the family. She claims to be the "strong" one, as opposed to all the others, whom she describes as "weak", with the exception of her son. In reality, he is just a puppet in her hands, incapable of cutting the umbilical cord and going against his mother's wishes. Her own strength is, in fact, also a delusion - she would not manage to run the company on her own, so she depends on Christoffer as much as he depends on her. She reaches out as far as Stockholm, where her son mistakenly thinks he has found bliss with his beautiful and caring Swedish actress wife while eschewing the tentacles of family business. But with the excuse of his father's suicide - and here one doubts how big a part she has had in his tragic decision - she drags him back to Copenhagen and installs him at the head of what he had tried to escape. The fact that she insists that he, not his brother-in-law, become the leader is a clear imposition of her will. Another one is the coaxing of Christoffer into forming a relationship with the "family friend", whom he doesn't care about. But she is omnipotent, in his eyes, so in the end he'll have to give in and do what he is told. Breaking away from the wife and baby he loves shatters him, but he will learn in time his mother teaches him if not to despise them, at least to grow indifferent.
A great, chilling interpretation by Ghita Mørby/Annelise; Lisa Werlinder is delightfully voluptuous and Ulrich Thomsen is confirming himself a highly talented actor. Per Fly directs an elegant, bitter movie, reminiscent of Ingmar Bergman's cosmic pessimism.
There is a socio-political level, on which the apparent message is: "Capitalism tramps on human feelings". This could be (but it is just a possibility) the director's message. Evidence for it is the sympathetic way the old employees and managers are portrayed, who are felled by "rationalisation" of the firm. Conversely, the negative aspect of capitalism is represented by the cold, scheming dowager, who thinks nothing of setting 200 employees on the dole, firing her son-in-law from his decision-making post, disrupting her son's family, all for the benefit of The Firm.
The second level is Freudian. A power struggle is under way between the domineering mother (not unlike Meryl Streep's character in The Manchurian Candidate) and the rest of the family. She claims to be the "strong" one, as opposed to all the others, whom she describes as "weak", with the exception of her son. In reality, he is just a puppet in her hands, incapable of cutting the umbilical cord and going against his mother's wishes. Her own strength is, in fact, also a delusion - she would not manage to run the company on her own, so she depends on Christoffer as much as he depends on her. She reaches out as far as Stockholm, where her son mistakenly thinks he has found bliss with his beautiful and caring Swedish actress wife while eschewing the tentacles of family business. But with the excuse of his father's suicide - and here one doubts how big a part she has had in his tragic decision - she drags him back to Copenhagen and installs him at the head of what he had tried to escape. The fact that she insists that he, not his brother-in-law, become the leader is a clear imposition of her will. Another one is the coaxing of Christoffer into forming a relationship with the "family friend", whom he doesn't care about. But she is omnipotent, in his eyes, so in the end he'll have to give in and do what he is told. Breaking away from the wife and baby he loves shatters him, but he will learn in time his mother teaches him if not to despise them, at least to grow indifferent.
A great, chilling interpretation by Ghita Mørby/Annelise; Lisa Werlinder is delightfully voluptuous and Ulrich Thomsen is confirming himself a highly talented actor. Per Fly directs an elegant, bitter movie, reminiscent of Ingmar Bergman's cosmic pessimism.
Family: Obligations, Commitments, Consequences
gradyharp11 November 2006
Writer/director Per Fly is a strong filmmaker from Denmark who is unafraid to make controversial statements that challenge certain 'family values' sentiments prevalent in this country. In this brilliantly written, directed and acted film he manages to reveal the inner destruction of a family under whose surface is an institution of envy. It is a riveting film that despite its in excess of two-hour length keeps us riveted to our seats in its never-ending exploration of the darker side of familial machinations.
Christoffer (Ulrich Thomsen) has escaped his Danish family and is comfortably ensconced in Stockholm as a successful restaurateur, living with the beautiful actress Maria (Lisa Werlinder) whose love for life extends beyond the fulfilling pleasures of the boudoir. Their bliss is interrupted by an unexpected visit from Chrisoffer's father who briefly spends time with the couple, happy for their state of success in all things. Upon his departure Christoffer receives a phone call that his father has hung himself and his presence is demanded in Denmark. Christoffer and Maria fly home to the matriarch of the family, Christoffer's mother Anneliese (the brilliant Ghita Norby) who immediately takes charge of the family, demands that Christoffer take over the failing family steel company thus skipping over Christoffer's designated brother-in-law Ulrick (Lars Brygmann), a fact that tears at Christoffer's sister Benedikte (Karina Skands). Taking the position of head of the family business would mean his giving up his dreams in Stockholm, negate Maria's burgeoning acting career, and placing Christoffer in the ominous position of having to fire longtime employees and make changes that would decimate many - not the least of which would be Christoffer's character. But Anneliese is strong and gets her way and thus the destruction of Christoffer's humanity and life begins.
Christoffer is able to merge the company with a French company and make the family business successful. But at what a cost? Maria leaves him after they have a child, Benedikte collides with him over his ruining her life with Ulrick, and Christoffer moves to France where he drowns his sorrows in alcohol. Per Fly is not one to tidy up all of the loose ends of a family disintegration: he leaves the end results of a bad decision up to the audience to figure out. It is this respect for the audience that endears this artist to us. The script is brilliantly written, the acting is superb, and the direction is tight and sensitive to the storyline. In every way this is a film worthy of our attention, not only as an art piece, but also as a means of re-examining 'family values' that here are presented in quite a different light than our usual reference phrase suggests. Highly recommended. Grady Harp
Christoffer (Ulrich Thomsen) has escaped his Danish family and is comfortably ensconced in Stockholm as a successful restaurateur, living with the beautiful actress Maria (Lisa Werlinder) whose love for life extends beyond the fulfilling pleasures of the boudoir. Their bliss is interrupted by an unexpected visit from Chrisoffer's father who briefly spends time with the couple, happy for their state of success in all things. Upon his departure Christoffer receives a phone call that his father has hung himself and his presence is demanded in Denmark. Christoffer and Maria fly home to the matriarch of the family, Christoffer's mother Anneliese (the brilliant Ghita Norby) who immediately takes charge of the family, demands that Christoffer take over the failing family steel company thus skipping over Christoffer's designated brother-in-law Ulrick (Lars Brygmann), a fact that tears at Christoffer's sister Benedikte (Karina Skands). Taking the position of head of the family business would mean his giving up his dreams in Stockholm, negate Maria's burgeoning acting career, and placing Christoffer in the ominous position of having to fire longtime employees and make changes that would decimate many - not the least of which would be Christoffer's character. But Anneliese is strong and gets her way and thus the destruction of Christoffer's humanity and life begins.
Christoffer is able to merge the company with a French company and make the family business successful. But at what a cost? Maria leaves him after they have a child, Benedikte collides with him over his ruining her life with Ulrick, and Christoffer moves to France where he drowns his sorrows in alcohol. Per Fly is not one to tidy up all of the loose ends of a family disintegration: he leaves the end results of a bad decision up to the audience to figure out. It is this respect for the audience that endears this artist to us. The script is brilliantly written, the acting is superb, and the direction is tight and sensitive to the storyline. In every way this is a film worthy of our attention, not only as an art piece, but also as a means of re-examining 'family values' that here are presented in quite a different light than our usual reference phrase suggests. Highly recommended. Grady Harp
Remake of "Les Destinées sentimentales" by Olivier Assayas
gabridl8 February 2005
I'm surprised no one noticed that "The Inheritance" is a remake of remake of "Les Destinées sentimentales" (2000) by Olivier Assayas, updated to the present and set in Denmark. It simplifies the story and the moral quite a bit. It's a good film, but if you enjoyed it you should see the French original. Unlike Fly, Assayas doesn't present the viewer with a choice between life and work so much as meditation on the possibilities of art in the modern world.
The difference in the films is symbolized by the family businesses: steel in Denmark versus porcelain in France, the one solid, simple, and cold, the other elegant, fragile, and complex.
It cannot be purely by accident that French is a second language in the film...
Ulrich Thomsen is as good an actor as Charles Berling, however, and looks a lot like Lawrence Olivier. Perhaps that's why there are allusions to Hamlet.
The difference in the films is symbolized by the family businesses: steel in Denmark versus porcelain in France, the one solid, simple, and cold, the other elegant, fragile, and complex.
It cannot be purely by accident that French is a second language in the film...
Ulrich Thomsen is as good an actor as Charles Berling, however, and looks a lot like Lawrence Olivier. Perhaps that's why there are allusions to Hamlet.
One of the most brilliant movies of the last years
loveraisins25 October 2004
" Inheritance " is one of the greatest European movies of the last few years. It might seem boring for an average American viewer who is used to Hollywood action movie culture. The film is a great reflection of a real life situation. It is wonderfully acted and very believable. Directing is superb. I would recommend it to anybody who has an appreciation for a fine art of European cinema ( particularly for its ability to depict life the way it is ). This is one of the movies that I would definitely give a 10.
Fine film with marginal story
=G=13 June 2005
"The Inheritance" is all about a Swedish man (Thomsen) who steps in to take over his father's floundering steel business after his father's death only to find his personal life falling apart as he pulls the steel biz together. This plaintive examination of how one man's blind commitment to business sacrifices those he loves most is a solid drama with moderate hi-lo excursions, an even pace, and a well managed presentation though there is considerable dead time between the scenes which move the story forward. However, one has to wonder if watching a man who is better at managing a business than at managing his personal affairs is sufficiently interesting to warrant an almost 2 hour watch. Factor in subtitles and this flick will probably only work for foreign film drama fans. (B)
This superb film has several important themes
ocaastro20 September 2005
I rarely give a 10 rating to a film even when I really enjoy it but this film is the rare exception. The script is perfect, the directing is perfect, the casting is perfect, and the story has profound meaning for the viewer.
The film shows how family and business obligations can change people's character and desires. For example, Hollywood is filled with couples whose desires change because of life experiences. It is also true of the business world. Unfortunately that is why divorce is so common in those areas. A couple may start out completely compatible and then one of them has new vistas opened to them.
The film shows how family and business obligations can change people's character and desires. For example, Hollywood is filled with couples whose desires change because of life experiences. It is also true of the business world. Unfortunately that is why divorce is so common in those areas. A couple may start out completely compatible and then one of them has new vistas opened to them.
Inheritance
chn656 July 2009
Warning: Spoilers
Whatever you do in life, don't inherit a steel mill! And if you do, quickly leave the board to its own devices as soon as possible, and get on with a happy life instead. Running a factory with problems gives NO way for personal agendas or even - feelings.
I agree with some of the other reviews: It could have been interesting, if the mother had had her own dilemmas showing, or if the son had confronted her with what a bitch she was. But the point is exactly, that you must be careful when inheriting a steel mill - it may end up eating all you really had, and leaving you with only money-problems and responsibility.
I agree with some of the other reviews: It could have been interesting, if the mother had had her own dilemmas showing, or if the son had confronted her with what a bitch she was. But the point is exactly, that you must be careful when inheriting a steel mill - it may end up eating all you really had, and leaving you with only money-problems and responsibility.
This is very boring!!
Spytman12 February 2003
Hi there ! I just spend almost 2 hours watching Per Fly's Arven, the second movie in an upcoming trilogy about social reality. The first movie Bænken was a very nice movie, but this really bored me. NOTHING interesting happens and the first 45 mins i almost fell asleep. The characters in this movie are upperclass and absolutely non interesting. If this is how the upperclass is supposed to behave, i'm very happy in the middle. I'll bet some people will find this movie interesting but in my humble opinion it's a good waste of 2 hours and truly makes me think about seeing the last movie when it's done.
Honest, straight, no frills story telling...
rupsfrazer8 February 2004
I saw this film at the 2003 London Film Festival and was impressed by the way it treated its audience, as adults. So many films are blatantly manipulative, pushing all the right buttons to extract all the appropriate responses. And it seems we are generally quite happy to collude in the process. Not so with this film. We are allowed to find our own way in, so that everyone's response to it will be singular and specific.The performances are unshowy and honest - not so easy when one of the protaganists is a celebrated actress. The clash between desire and duty, a well-worn theme, is given depth and clarity through a truthful, unsentimental and no-frills piece of film making. I'm looking forward to seeing it again.
A Telling Film With A Clear Message
michaeltaddonioa5 July 2008
Warning: Spoilers
I was impressed by what this film had to say about life and particularly the family.
I can see why the main character wanted to get out of the family business. In the business world and in many businesses in particular, it is a pressure cooker and a rat race. The man wanted to have a better and a more stable lifestyle, which he got by moving to another nation, owning and managing a restaurant, getting married, and having a family.
Unfortunately, his father committed suicide. It was fine that he helped out with his family upon his father's death. On the other hand, he should not have left his marriage and restaurant business go down the drain. He allowed his mother to turn him against his wife, a fine woman who loved and cared for him. The mother was just an overly dominant woman who wanted her way and who did not care who she hurt to get it. The main character lacked the fortitude and strength to repel this advance by the mother. As I've stated, this produced grave consequences. The main character could and should have helped for a while and then went back to his restaurant and family. The movie revealed that the state of the business wasn't good. The ruthless of the business world was shown. The main character's wife obviously did not care of any of what was going on.
Movie shows how one must balance his or her life and priorities.
I can see why the main character wanted to get out of the family business. In the business world and in many businesses in particular, it is a pressure cooker and a rat race. The man wanted to have a better and a more stable lifestyle, which he got by moving to another nation, owning and managing a restaurant, getting married, and having a family.
Unfortunately, his father committed suicide. It was fine that he helped out with his family upon his father's death. On the other hand, he should not have left his marriage and restaurant business go down the drain. He allowed his mother to turn him against his wife, a fine woman who loved and cared for him. The mother was just an overly dominant woman who wanted her way and who did not care who she hurt to get it. The main character lacked the fortitude and strength to repel this advance by the mother. As I've stated, this produced grave consequences. The main character could and should have helped for a while and then went back to his restaurant and family. The movie revealed that the state of the business wasn't good. The ruthless of the business world was shown. The main character's wife obviously did not care of any of what was going on.
Movie shows how one must balance his or her life and priorities.
I agree with the professional reviewers: It's magnificent
jakse27 February 2003
Taste is individual -- but this movie is one of the best rated danish movies within the last 2 years. In my opinion it really is a great movie because it deals with the basic human dilemma between what you want and what you are supposed to do with your life.. All actors are eminent (again I am in accordance with 100% of the television, web, and newspaper movie reviewers). Contrary to other contemporary danish movies, Per Fly (the director) has really thought about the mood of the scenes ... which makes it a pleasurable movie to watch.
This movie is very strong and gives a very exact image of the Danish upper-class
rott_dk13 March 2003
I was very moved by this movie because it deals in a beautiful way with some of the very tough decisions in life, and how fate or your social background can catch up with you, even though you do your best to escape from it. Although it deals with the Danish upper-class, of which it gives a very exact image, you can easily relate to it. It's a very tragic film and you shouldn't plan to watch it as a part of pleasant evening - it would kill the mood. All the same, I strongly recommend you to watch this movie.
An absorbing drama of old wealth and modern capitalism
howard.schumann26 March 2007
A well-to-do businessman arrives in Stockholm. On the surface he is self assured and in control, yet underneath he is a man experiencing a desperate emotional and spiritual crisis that threatens to take control of his life. Similar in theme to Laurent Cantet's Time Out, Danish director Per Fly's The Inheritance is a penetrating look at the humane cost of serving a soulless corporation out of duty and obligation. The second in a trilogy that deals with Danish life from different social levels, it is an absorbing drama of old wealth and modern capitalism that takes us into the soul of Christoffer (Ulrich Thomsen), the wealthy son of a prominent steel magnate. Reserved, almost reticent, Christoffer hides his feelings like a surprise birthday present, but when they are unwrapped they also unravel.
In a flashback to five years ago, we learn that he is a successful restaurateur in Sweden, happily married to Maria (Lisa Werlinder), a Shakespearean actress who is offered a contract for one year at the Royal Dramatic Theater. Christoffer's life is turned upside down, however, when he learns that his father Aksel (Ulf Pilgaard), the owner of the Borch-Muller steel mill, has committed suicide after concealing the company's substantial debt. Like Michael Corleone in The Godfather, he is then forced to choose between his sense of loyalty to his family and his personal freedom when his imperious mother Annelise (Ghita Norby), showing no confidence in his brother-in-law Ulrik (Lars Brygmann), insists that he take over the leadership of the steelworks.
Maria, unwilling to give up her career, pleads with him to refuse to lead the company, now almost bankrupt. Christoffer is hesitant and first agrees with his wife, but when he comes face to face with the company's employees, many of whom would have to be laid off, he capitulates and agrees to assume his father's position. It is a turning point in his life. Though it never becomes clear where the truth lies, Christoffer hears from his associate Niels (Peter Steen) that Ulrik is spreading rumors to undermine the company's position with the bank. He is forced to fire Ulrik, precipitating a crisis with his sister Benedikte (Karina Skands) who remains steadfast in his support and refuses to have anything further to do with her brother.
When Christoffer has to dismiss 200 workers until the company can get back on its feet, it begins to affect his personality. He refuses to talk about his work with Maria and becomes totally preoccupied with completing a merger with a prominent European steelworks company. Taken aback by the callousness apparently necessary to run the business, Maria is angered by her husband's reluctance to share his problems at work and by his mother, Annelise, who tells Christoffer not to talk about his emotions. If this sounds like an episode from "Dynasty", it would only be partially true. For the most part, the characters and their motivations are too nuanced and complex for it to be considered as soap opera, though unfortunately the film lapses into melodrama near the end.
The Inheritance can be viewed on several levels: as a testament to what the modern day corporation has become, a machine that inevitably gobbles up one's humanity; as the story of a selfless individual, willing to sacrifice his own happiness for his family's business; or as the sad tale of a man who is more comfortable being in a dependent relationship with his mother than in fully assuming the adult responsibilities of marriage and emotional independence. Regardless of your interpretation, The Inheritance succeeds as a compelling character study of a man who, in the process of making hard choices in the business world, loses the things in his life that are the most precious, including his self respect.
In a flashback to five years ago, we learn that he is a successful restaurateur in Sweden, happily married to Maria (Lisa Werlinder), a Shakespearean actress who is offered a contract for one year at the Royal Dramatic Theater. Christoffer's life is turned upside down, however, when he learns that his father Aksel (Ulf Pilgaard), the owner of the Borch-Muller steel mill, has committed suicide after concealing the company's substantial debt. Like Michael Corleone in The Godfather, he is then forced to choose between his sense of loyalty to his family and his personal freedom when his imperious mother Annelise (Ghita Norby), showing no confidence in his brother-in-law Ulrik (Lars Brygmann), insists that he take over the leadership of the steelworks.
Maria, unwilling to give up her career, pleads with him to refuse to lead the company, now almost bankrupt. Christoffer is hesitant and first agrees with his wife, but when he comes face to face with the company's employees, many of whom would have to be laid off, he capitulates and agrees to assume his father's position. It is a turning point in his life. Though it never becomes clear where the truth lies, Christoffer hears from his associate Niels (Peter Steen) that Ulrik is spreading rumors to undermine the company's position with the bank. He is forced to fire Ulrik, precipitating a crisis with his sister Benedikte (Karina Skands) who remains steadfast in his support and refuses to have anything further to do with her brother.
When Christoffer has to dismiss 200 workers until the company can get back on its feet, it begins to affect his personality. He refuses to talk about his work with Maria and becomes totally preoccupied with completing a merger with a prominent European steelworks company. Taken aback by the callousness apparently necessary to run the business, Maria is angered by her husband's reluctance to share his problems at work and by his mother, Annelise, who tells Christoffer not to talk about his emotions. If this sounds like an episode from "Dynasty", it would only be partially true. For the most part, the characters and their motivations are too nuanced and complex for it to be considered as soap opera, though unfortunately the film lapses into melodrama near the end.
The Inheritance can be viewed on several levels: as a testament to what the modern day corporation has become, a machine that inevitably gobbles up one's humanity; as the story of a selfless individual, willing to sacrifice his own happiness for his family's business; or as the sad tale of a man who is more comfortable being in a dependent relationship with his mother than in fully assuming the adult responsibilities of marriage and emotional independence. Regardless of your interpretation, The Inheritance succeeds as a compelling character study of a man who, in the process of making hard choices in the business world, loses the things in his life that are the most precious, including his self respect.
Ulrich Thomsen plays Ulrich Thomsen
bobrandt22 February 2003
If you see as few movies as most of the people I saw this movie with, you'll like it. But then you might as well just go see any newer Danish production.
Ulrich Thomsen plays Ulrich Thomsen playing Ulrich Thomsen. As is unfortunately true with many more actors - the more movies you see with them, the shallower they appear.
Although the human misery was evident to me, I simply did not feel that it came from the movie. Rather I found something I could relate to, like if you watch Ricky Lake...
Ulrich Thomsen plays Ulrich Thomsen playing Ulrich Thomsen. As is unfortunately true with many more actors - the more movies you see with them, the shallower they appear.
Although the human misery was evident to me, I simply did not feel that it came from the movie. Rather I found something I could relate to, like if you watch Ricky Lake...
Superb!
luise valentiner16 March 2004
Arven is a superb 'European' film. It is compelling viewing. It deals with a plethora of human issues and choices without
being sentimental or resorting to clichés. It is visually stunning. It is moving. The actors are convincing. We care about the characters. In fact, we really care! And I can only recommend it highly.
being sentimental or resorting to clichés. It is visually stunning. It is moving. The actors are convincing. We care about the characters. In fact, we really care! And I can only recommend it highly.
Very original plot, which makes a most interesting movie
FreeAll14 July 2003
Excellent acting by Ulrich Thomsen, Lisa Werlinder and Ghita Nørby. I have heard that Ghita Nørby told Per Fly (the director) that she knew exactly how her character was because she was like that herself. So he let her do it her way. And thank God for that. She is exceptional good in this role. Lisa Werlinder plays the silent girl, who a few times gets very upset. When she does, it really lifts the movie to an even higher level. Ulrich Thomsen does not say how he feels, so it is very important that you can see what he feels. Very well done. Not easy to get away with as good as this.
Beautiful pictures also makes this movie a pleasure to watch. Especially when they are shooting in France you have some very amazing pictures. It is also nice that the camera does not shake as much as most Dogma movies.
But if it had not been for the original plot it would not have been a good movie. Today in Danish movies it is mostly ordinary people you see, so that everybody can relate. It was fun for a while, but the ordinary story about ordinary people can get really boring if you make it over and over again. The most important scene in the movie as I see it is where Christoffer announces to the employees that the company will merge and that even more people will get hired. The crowd cheers and you can see how Christoffer's eyes just shine. That is one of the reasons that he sacrifice so much. Because of the employees.
Arven is original. Interesting. Extremely well played.
Arven is one of a kind.
Beautiful pictures also makes this movie a pleasure to watch. Especially when they are shooting in France you have some very amazing pictures. It is also nice that the camera does not shake as much as most Dogma movies.
But if it had not been for the original plot it would not have been a good movie. Today in Danish movies it is mostly ordinary people you see, so that everybody can relate. It was fun for a while, but the ordinary story about ordinary people can get really boring if you make it over and over again. The most important scene in the movie as I see it is where Christoffer announces to the employees that the company will merge and that even more people will get hired. The crowd cheers and you can see how Christoffer's eyes just shine. That is one of the reasons that he sacrifice so much. Because of the employees.
Arven is original. Interesting. Extremely well played.
Arven is one of a kind.
Scandinavian coming of age tale for men.
zoschenkooksanna17 January 2016
Warning: Spoilers
Beauty is in the eye of the beholder. And what most reviewers believe is that The Inheritance is about how a man, bullied by his domineering mother, turns his back on a beautiful wife and life in Sweden and betrays everything and everyone, ending up a basket case and pale shadow of his former self. But they're all wrong. A contrarian reading of the film goes thusly: A man is in a relationship in which he is the subservient party. But he doesn't know it. He decides, against the wishes of his persuasive wife, and out of conscientious duty to the steel workers, to take control of the family business. He makes many difficult decisions, but all are guided by his desire to do the right thing, and for others to do the right thing by him. Where is the fault therein? He is let down by his backstabbing brother in law and his cheating wife. He forgives her, and eventually him. But, and through a classic bit of Scando' understatement we discover this, she keeps on cheating. Eventually she leaves him. Presumably Alfred (the libidinous Lothario) dumps her when she is no longer married. Christopher, our protagonist, manages to save the steel mill, reinstate some sacked workers, get his act together, get a reliable wife, and with some encouragement from Mom, basically grow up. This is a brilliant Scandi coming of age film for the fellas. It is little wonder that the luvvie set viewed it with puzzlement and decided it was an anti-capitalist polemic. The attempted rape of a middle aged, swarthy-complexioned French maid by Christopher after his wife walked out on him, was greeted with incredulity by the critics, as proof of his moral decline. But if you notice the humble maid with broom is the antithesis of his flighty, starry-eyed wife, it becomes clearer: she represents a modest, caring, constant heart, an irresistible attraction, and more evidence that the film is a vehicle, a clarion call for return to traditional values, utterly incomprehensible to the current generation of filmerati. One other thing. Pay particular attention to the opening minutes of the film. They are important for later.
Shakespearean Tragedy Updated to the Family Business
noralee21 July 2004
"The Inheritance (Arven)" is the best look since "The Godfather" at the corrosive impact of family business where there's no boundaries between family and business.
The starting premise is strikingly similar to another Scandinavian drama, the Icelandic "The Storm (Hafið)," as in both we start off with a prodigal son happily and romantically involved abroad but forced back to deal with the patriarch's dramatic decision that has ever widening ramifications.
But whereas the first went off in psycho-sexual directions from a fishery, this Danish film stays realistically in the board room of a steel plant as much as the bed room.
Here, his wife is a Shakespearean actress and the Shakespearean references I caught are played up beyond "King Lear,"as the matriarch, a scarily formidable Ghita Nørby, whose role could be taken by Judi Dench or Glenn Close in an American remake, is a Lady MacBeth, and he's baited by a CFO with a pronounced Iago modus operandi, while the wife, the very moving Lisa Werlinder, is left to plead like Portia in "Julius Caeser."
Un-Hamlet-like, Ulrich Thomsen's manipulatable Christoffer plunges into decisions that succeed at high psychological prices for him and those around him, reminding me of the classic closing line of the adaptation of Henry James, "The Heiress": "I've learned from masters."
The starting premise is strikingly similar to another Scandinavian drama, the Icelandic "The Storm (Hafið)," as in both we start off with a prodigal son happily and romantically involved abroad but forced back to deal with the patriarch's dramatic decision that has ever widening ramifications.
But whereas the first went off in psycho-sexual directions from a fishery, this Danish film stays realistically in the board room of a steel plant as much as the bed room.
Here, his wife is a Shakespearean actress and the Shakespearean references I caught are played up beyond "King Lear,"as the matriarch, a scarily formidable Ghita Nørby, whose role could be taken by Judi Dench or Glenn Close in an American remake, is a Lady MacBeth, and he's baited by a CFO with a pronounced Iago modus operandi, while the wife, the very moving Lisa Werlinder, is left to plead like Portia in "Julius Caeser."
Un-Hamlet-like, Ulrich Thomsen's manipulatable Christoffer plunges into decisions that succeed at high psychological prices for him and those around him, reminding me of the classic closing line of the adaptation of Henry James, "The Heiress": "I've learned from masters."
Dierctor Per Fly once again makes a brilliant movie of despair and ambitions.
heidikvistgaard25 March 2003
I absolutely disagree that Arven should be boring. From the very beginning we feel the dilemma of Ulrick Thomsen and is thorn apart the deeper we go in the story, as we feel his pain and his obligations. Per Fly is an exellent director who forces his actors to do their vey best and it shines through the whole movie. The acting is deep and sensitive. It's exellent. Director Per Fly also understood to make us feel all swallowed up in the story. It's an exellent movie. Intellegent, sensitive and it really makes you think about how to live your life.
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