'Smilla's Sense of Snow', derived from Peter Hoeg's similarly-named book (the original title was a little more arch), is nearly a great film. It's central conceit is that Smilla, it's lead character, a native Greenlander and sometime glaciologist, views the world with an icy disdain. But a young boy melts her heart and when he dies, she becomes his avenging angel. Julia Ormond is luminescent in the title role, and her intense, reserved Smilla is able to get away with lines that would seem unbearably trite if uttered by a conventionally feisty, kick-ass heroine. In fact, there are a lot of interesting faces in this film, from that of the beautiful Clipper Miano, who plays the young boy, to the distinctive visages of veteran (and now deceased) British character actors Richard Harris and Bob Peck. But despite the largely English cast (and the use of English for the dialogue), the film still feels suitably Scandanavian, Smilla may be unusually cold but she nonetheless belongs in the world as portrayed.
If the film's strengths lie in character and atmosphere, its weaknesses derive from it's basic form as a thriller. All thrillers depend on a key (and essentially implausible) step in the plot, where the hero transforms from an interested bystander to one man (or woman), fighting alone against the entire power of the system. 'Smilla's Sense of Snow' can't quite avoid a certain James Bond feel at (and after) this point, for all it's introverted seriousness; and director Bille August's understated (and unmelodramatic) style works better on the quieter scenes than the action ones. As a thriller, it's a bit too low-key; but as a character study, it's way too racy. The sheer evil of Smilla's enemies is also a bit disappointing; Smilla's severity is more striking when applied to humans with more ordinary failings. In spite of these faults, the film remains a highly distinctive movie and worth watching, though also one that can't quite deliver on its enigmatic promises.
If the film's strengths lie in character and atmosphere, its weaknesses derive from it's basic form as a thriller. All thrillers depend on a key (and essentially implausible) step in the plot, where the hero transforms from an interested bystander to one man (or woman), fighting alone against the entire power of the system. 'Smilla's Sense of Snow' can't quite avoid a certain James Bond feel at (and after) this point, for all it's introverted seriousness; and director Bille August's understated (and unmelodramatic) style works better on the quieter scenes than the action ones. As a thriller, it's a bit too low-key; but as a character study, it's way too racy. The sheer evil of Smilla's enemies is also a bit disappointing; Smilla's severity is more striking when applied to humans with more ordinary failings. In spite of these faults, the film remains a highly distinctive movie and worth watching, though also one that can't quite deliver on its enigmatic promises.