User Reviews

I have to admit, after the first few minutes I was wondering if I'd even manage to finish the whole thing. Also, as this was the first Dogme film I'd seen, I was also really questioning the whole concept. The opening scenes seemed amateurish in both filming and acting, with jerky editing and camera movements, and seemingly one-dimensional characters. But it really grew on me as I kept watching. The more the characters revealed themselves, the more sympathetic and complex they became. It actually became quite engrossing as the film progressed. There were just so many moments of geniune warmth and humor. In fact, what really struck me about this film after it was all over was its geniuneness. I haven't seen anything so heartwarming in a long time. 8/10.

At the time of writing, "Italian for beginners" is a big hit on the Berlin Film Festival. The reason may be that it´s another film made under the Dogme 95 certificate, but it can easily stand on its own, without comparison to "The Celebration", "The Idiots" and "Mifune". Basically it´s a comedy-drama (although one of the Dogme rules prohibits genre definition) telling several interwoven stories connected by the Italian-for-beginners-class. There are a whole variety of characters: the young pastor, the hothead short order cook from the sports restaurant, the clumsy girl from the bakery etc. All very recognizable everyday types, but beautifully realized by its talented cast, with special kudos to Peter Gantzler, cast against type and hilariously underplaying as the nerdish impotent hotel clerk. Lars Kaalund is also very funny, sporting a very authentic sounding Italian.

Director Lone Scherfig has made a very endearing, romantic film that is very universal in its tone, which is probably why it has performed so well at the Berlin film festival. For a feel-good movie experience, you should definitely go see "Italian for beginners".

What an evening well spent watching this film. It's poignant, touching, funny. It explores themes that are not always easy to talk about on the big screen: euthanasia for one, impotence for another. It also touches the tragedy of losing someone close to you. The cast is very good, all six of them, but especially Anette Stovelbaeck, Ann Eleonara Jorgensen and Peter Gantzler. And Sara Indrio Jensen is superb! Too bad she hasn't played in another movie. The dogme style goes well with this story. But one must get pass the first 10 minutes or so during which the hand-held camera can make you a bit dizzy!

Seen at home, in Toronto, on March 25th, 2006.

80/100 (***)

What a pleasure "Italian for Beginners" is. Each character is appealing as well as complex and recognizable. A new pastor, bereft after his wife's death, interacts with an assortment of people who by accident or stumbling and fumbling intent come together in overlapping relationships. Romance is in the air, deaths dislocate several of the characters' lives, comedic movements help all to cope with the vagaries of life.

Taking place mostly in Denmark (with a restaurant manager whose style convinces me that he must have done an internship in a New York City eatery), the story revolves around the central goal of learning Italian. Only one of the main characters is from Italy, a beautiful waitress with the clearest agenda of anyone in the film. After wrestling through a non-Berlitz approach to the language all head for Venice where hearts meet and fun reigns.

Dogma 95 certificate or not, this is a convincing, endearing, excellent film. By intent or otherwise, many scenes are shot with a slight jerkiness that adds to a viewer's sense of inclusion.

Unfortunately this film won't screen in many theatres and rentals and sales will be the path to a wider audience. And this film merits a very big following.

The thing I appreciated about this flick were the actors. Here I saw real people acting the way folks like you and me act in similar situations. None of the silly fresh faced cuteness that one sees on local programming of the 'Friends' genre. Here were people we could all relate with, people we know and have interacted with. After watching the various romances unfold I left the theater with the good feeling of, 'yep, that's the way it really happens.'

I had the pleasure of seeing Italiensk for begyndere in a pretty small, intimiate cinema, which set the audience up beautifully for this movie.

The characters really drive this story, rather than the film pushing the characters around. What results is a movie that takes its own time to say what it needs to say, and that allows us to gain insight on what really is a broad spectrum of very human, very diverse personalities.

Romantic comedies-dramas, by and large, are pretty hit-and-miss, though more miss than hit if they come from Hollywood. They're bogged down in clichés, saccarine melodrama and characters that don't at all behave like real people. Italiensk for begyndere avoids all that, giving us characters that could just as well be the person sitting three seats from you in the cinema, that's how human they are.

I didn't feel at all cheated with this film, and left the cinema feeling like I saw a film that speaks to people. Superb.

"Italian for Beginners", Danish with subtitles, has the premise of an Italian class along with a temporary pastor in the town as the starting point for a series of funerals and romances between a disparate group of people in a small village outside Copenhagen.

The scenes are set realistically in the Dogma 95 model which has been endlessly written about and which can detract from this simple film if one gets caught up in the methodology. I chose not to.

The movie takes a gentle hold after about fifteen minutes of dither, I never knew where it was going and why everything (plot, acting, script) was so murky -one aspect of Dogma philosophy is to shoot everything on video. But after that stretch of settling in, it charms and captivates.

The characters are well drawn and reveal a complexity over the course of the film that is not evident in the beginning.

I found myself smiling at the ending, shot in Venice, where the unhokey multiple romances get a gentle baptism with some nice little surprises laid along the way and a lot of funny, tender moments. 7 out of 10.

This is a very intimate and enjoyable film. It shows every day characters in their own surroundings interacting in a manner that is very naturalistic and true. Director Lone Scherfig has directed with a sure hand and the situation is believable.

The ensemble cast plays well, as it is with the majority of the Dogme95 films. At times, they make us forget that we are watching a film, as it struck me, that I was just intruding in the life of a bunch of people in that town in Denmark.

What is amazing is that the film doesn't become an Italian travelogue as it would have been the case had this story been done by a non-Scandinavian director with pressures from studio heads. It has the right amount ingredients and it makes a delicious minestrone for all to enjoy.

Bravi a tutti!

Italian for Beginners (2000)

A very sweet, romantic, warm movie about a bunch of slightly lonely, slightly misfit Danes who meet through an Italian class. There is a dysfunctional church (probably not uncommon in Denmark), a quaint bakery, a hairdresser's, and so on, adding to a kind of small town reality where everything has conviction.

As much as this is all good--and it is good, if not great--it's also decided low budget in a kind of clunky way. The acting is fine--people are themselves, I suppose, or like fairly normal people--and the story line is cute and clever. But the filming and direction borders on a really good home movie. It's a 97 minute affair of course, and doesn't feel thrown together or amateurish, merely so simple and plain, visually, it becomes conspicuous.

But if you can just enjoy the interpersonal lives, and some budding love affairs (and who can't), and a final section in Venice, you might find it a sweet joy.

This is one of the most enjoyable and rewarding romantic comedies at the beginning of the decade. A Dogma 95 film, this movie exemplifies the challenges put up by the group of film makers that created Dogma 95 in Copenhagen. DOGMA 95 counters the individual film by the principle of presenting an indisputable set of rules known as THE VOW OF CHASTITY. The rules (10 in all) include principles such as: shooting must be done on location (scenes in Venezia) and on a sound stage used to rehearse Sound of Music--an auditorium where the Italian classes are held. Music should not be used unless it occurs where hte scene is being shot (how refreshing not to have Hollywood scores interrupting the natural sound). Hand-held camera-- this produces a feeling that you are doing the filming yourself. I felt that when Andreas was swimming in the hotel pool. Special lighting is not acceptable -- again the auditorium and the lights. Or the restaurant lighting. The characters in this movie are so real one feels you have met them before. You can read the plot elsewhere if you haven't seen this movie. There are pairings in this movie that show romance at its best -- forgiveness for the foible (Olympia was probably born with fetal alcohol syndrome-- Andreas understands this and near the end when he suggests she sing in the church choir, he suggests they prepare for her falling over into the pews. Giulia's budding love for Jorgen Mortensen is a treat -- little prayers in the kitchen -- and rehearsal for the big moments. This movie even treats impotence with the gentleness and humor and understanding that the best of life can deal. Perhaps most erotic is the scene where Karen washes Hal-Finn's hair in her salon -- ummmm! Not enough can be said about this movie. So to cut it short -- go see it -- watch it several times. A magical experience awaits -- where real people with real foibles find real connection.

I rented this DVD, because I thought that this is a comedy. However, it did not make me laugh at all. There is nothing funny about this movie at all.

And the cameraman should be fired for doing such a bad job. It does not look like a movie, rather, it feels as if you are watching a documentary. The camera constantly moves, jumps, and twists. With its pictures, it does not entitle for a big screen viewing. A tiny TV screen would be sufficient enough.

The movie did not start with a good beginning. It did not show all those usual credits at the start. You would feel the need to check to see if you are actually watching the chapter 1 of the movie.

On the other hand, the story is not too bad. Those actors are also authentic. Nevertheless, I suggest that you watch this movie only if you are bored, and can not find anything else to do. It does not elicit your emotion, your attention. It is just a story for several common people.

In Denmark, six lonely persons are having Italian classes sponsored by the City Hall. Jørgen Mortensen (Peter Gabtzler) is a shy hotel manager who has a crush on Giulia (Sara Indrio Jensen), a young Italian woman who works in an Italian restaurant and is secretly in love with him. Olympia (Anette Støvelbæk) is a clumsy clerk of a candy shop, who lives with her sullen father and is in love with Andreas (Anders W. Berthelsen), a young widow priest recently arrived in town. And the hairdresser Karen (Ann Eleonora Jørgensen), whose mother is an alcoholic woman, who loves Hal-Finn (Lars Kaalund), an incompetent and aggressive bar manager of the hotel where his best friend Jørgen Mortensen works. I am not a fan of Dogma 95 movies (the movement which uses handheld camera, natural light and sound and no special effects), but in this delightful romance the actors are so spontaneous that indeed it works. This unconventional love story, with euthanasia, common people, losers in general, Danish persons speaking Italian, is actually a great romance. My vote is eight.

Title (Brazil): ` Italiano Para Principiantes' (`Italian For Beginners')

"Italian for Beginners" is an odd comedy. The characters are mostly inexpressive, their joy and their despair equally muted - well, maybe the despair isn't because most of the movie seems soaked in a fatalism that would mortally wound the film if it wasn't for a tension that keeps the viewer involved with the characters. I wondered, as I watched, if this is a good example of Danish comedy. But in the end, it didn't matter because I found the characters sympathetic, their situations worth caring about, and the resolution of the various plotlines quite satisfactory. I was moved without feeling manipulated. This film has a Dogme 95 certificate, which says all that needs to be said regarding technical issues.

Back in the early ‘90s, when I was tooling about making home movies as a lark, and NEVER taking any of it seriously, I had NO idea that I had actually stumbled upon a method of filmmaking that very soon would be touted as THE method of the true, bona fide `auteur' (or, more accurately according to the tenets of the `method' used in this film, the `ANTI-auteur'), and that one day I would be watching `Italian for Beginners,' directed by (well, credit for the directing cannot be given, as it would be against the `rules,' which I will get to in a moment) and filmed in much the same-- in fact, the EXACT same-- style that I had employed back in what I now know were MY `auteur' (excuse me; my `ANTI-auteur') days. But having watched this film, the evidence is irrefutable; I know, because I've just finished watching the movies I shot back then with my trusty camcorder to get a comparison. And all I can say now is: `STAND ASIDE AND GIVE ME ROOM-- I'M ON MY WAY TO SUNDANCE!'

In 1995, Danish filmmakers Lars Von Trier and Thomas Vinterberg developed a new (?) filmmaking technique, for which they co-wrote a back-to-basics guide entitled `Dogma 95,' a manifesto for filmmakers who, by adhering to the rules set forth in the text, would become a part of the `newest' new wave to hit the industry, subsequently referred to as the `Cinema of Poverty,' and with good reason.

If you're thinking of giving this film a go, before you watch it you MUST know something about Dogma 95 to have a chance in the hot place of making it through to the end. There are ten `rules' set forth in the manifesto, as well as an addendum, a handful of items tacked on (afterthoughts?), such as `I am no longer an artist' (which after watching this film I fully understand and agree with). But the main things (rules) you must know going in are these: The movie must be filmed on location, with only a hand-held camera and using only whatever light is naturally available. And `music must not be used unless it occurs where the scene is being shot.' (Somewhat contradictorily, two of Von Trier's subsequent films were musicals; his disclaimer: `The rules are not meant to ‘limit' creativity, but to ‘spur it on'). Rule #10 states: `The director must not be credited.' In retrospect, the wisdom of THIS rule is beyond reproach.

There IS some substance to this story, imbued as it is with elements of classic Bergman as it examines `loss' on a number of levels through the lives of a small, diverse group of individuals in various stages of disenfranchisement. Their common denominator is the class in, well...Italian for beginners, to which they seemingly gravitate, each with their own specific reasons and motivations. The class becomes a kind of focal point for them; it is here that relationships are formed or honed, and their lives begin to intersect. Now, had only Bergman been on hand to direct them.

These are everyday folks, just going about the business of living; and quite frankly, they aren't all that interesting, nor are their respective stories. The group includes Hal-Finn (Lars Kaalund), an obnoxious restaurant employee who hasn't as yet caught on to the `customer/employee' dynamic-- he's self-absorbed, rude and insufferable; Jorgen (Peter Gantzler) lacks self confidence; Karen (Ann Eleonora Jorgensen) a hairdresser who never seems to be able to finish a client (Hal-Finn is in her chair at least three times, but never gets past the hair-wetting phase before some crisis or other calls Karen away, sending poor Hal-Finn away each time with a wet head and no haircut); Olympia (Anette Stovelbaek) who works in a bakery, where no doubt she sells danish (pun intended; I have nothing to lose at this point); and Andreas (Anders W. Berthelsen), a pastor who has taken a temporary assignment six months after the death of his wife. But listening to the thoughts (and I intentionally do not use the term `ideas' here) of a randomly selected group of postal employees on the dock at 3 a.m. at the post office would be intrinsically more interesting than anything that occurs in this film. Berthelsen, especially, spends the entire movie looking confused, like he's a contestant on Jeopardy! but can't figure out why Alex keeps giving him the answers instead of the questions. Or maybe he's just trying to understand what he's doing in this film to begin with. Where, oh where, is Ingmar when you need him?

On a positive note, the performances here are for the most part quite natural, if not engaging. Kaalund, at least, makes a lasting impression with a character reminiscent of Rutger Hauer's Eric Vonk in `Turkish Delight' (aka `Turk's Fruit'), from 1973; perhaps that's why Hal-Finn is always getting in `Dutch' with his boss (again, pun intended).

The supporting cast includes Sara Indrio Jensen (Giulia), Jesper Christensen (Olympia's Father), Lene Tiemroth (Karen's Mother) and Carlo Barsotti (Marcello). There are those who are going to like, even applaud, this film; personally, I'd rather watch paint dry. To connect with this film one has to be able to embrace, or at least get beyond, the whole Dogma 95 thing. I couldn't. Okay, perhaps I just don't `get' it; to this day I still don't get the Andy Warhol `soup can' deal, either. Just know that `Italian for Beginners' is definitely NOT going to be for everyone. I do find it interesting that the `rules' are also referred to as the filmmakers `Vows of chastity,' and that in reviews of Dogma 95 films the terms `chaste,' `austere' and `pure' always seem to surface. In the great scheme of things I know it means something; what it is, I don't know. But bear in mind that the manifesto also states, `Furthermore I swear as a director to refrain from personal taste!' And with that, I rest my case.

A clever film, with low production values but a witty script and great cast. The characters are so real and vivid. You sympathize with them, want them to succeed. There are so many tiny little things that make it leap from the screen. As you become caught up in the story you forget that the camera is a little shaky, the video not always perfectly focused. The scenes in Italy are absolutly beautiful. The director uses colors well, the color of the characters clothes reflects their emotions. Never heavy handed or pushy, just a sweet little film.

This film is about irritating relatives dying in order to set people free -- and about bad hair. I don't believe for a second that Karen ever actually cuts peoples hair. She can barely wash it. Also, all the characters in this film, with the possible exception of Jorgen, have bad hair. Maybe Dogme's new resolution is to make bad hair films? At least Halvfinn gets his fixed at the end -- but, significantly, not by Karen.

I understand that the Dogme series of films is supposed to be original and artistic and all that other commendable stuff. But this film, whilst enjoyable, is a mixture of Amelie and any American "feelgood" film where coincidences are (a) expected, and (b) happen just as expected.

Previous examples of the Dogme style (Festen etc), were noticeably raw at the edges. Italian for Beginner could have been made in Hollywood -- except for the handheld camera and lack of lighting.

Sorry and all that, but I give this a regular 7 out of 10 for "enjoyable but not exceptional".

Life in a dull Danish provincial town is only partly enlivened by an Italian night class.

This is one of these newfangled movies ("Dogma" for those in the know) where the whole thing is captured on video camera, lighting is natural-and-available and all music has to come from a visible source on screen.

Here we have camera work so wobbly that it looks like the cameraman has been taken by surprise by some of the action - either that for the director (Lone Sherfig) doesn't know the Danish phrases for "cut" or "let's go again - the cameraman wasn't ready!"

We are in a Mike Leigh world of small people with flaws trying to make a life in difficult circumstances. There seems a lot of deaths, but in this grey world you can almost call them mercy killings!

Finn is the marginal lead character (just ahead of the young new pastor) as he is both the coffee shop manager - for a while at least - and the stand-in Italian teacher after the original teacher has a heart attack in class. Given that he is fluent in Italian already you wonder why he needs to attend in the first place, but maybe it is the social scene that interest him?

While you may knock the grade Z production values it tells a lot of truths. The main one is that life is nothing but a string of embarrassing moments played off against small moments of pleasure or diversion.

The true protagonists of this movie are not the characters, but their feelings. In particular, I admired the skills of the director in entering into the desire of the "Danish" for the warmth and liveliness that Italians exhibit. If you can not stand the the fact that the camera is constantly moving and nobody has any make up, then, do not watch it. However, you would miss a funny and heartwarming movie with no frills and enjoyable hidden messages, for example that friendship and love can bring the sun of Italy into one's heart, or that life can always take unexpected turns.

It's a great movie I recommend to all of you. First, it could seem as hard as lots of the dogme films, but then it goes better and better.

I loved the plot, so simple but well worked, I loved the characters with its pros and cons, with its peculiarities; people who feel alone and find a place in an italian course, people who meet other people seeking friendship, love, etc. With a light touch of humour this film becomes a movie to spend a good time and when it ends, you want more, you want to know more about the lifes of these simple but charming people.

While I say that I'm not a big fan of the Dogma 95 movement, I look back and notice that some of the best movies of the past years are indeed Dogma productions, namely "Dancer in the Dark," "Breaking the Waves," and "The Celebration." While "Italian for Beginners" is not in the same caliber as the aforementioned greats, it is an emotionally engrossing film with some of the most real characters you'll see this year. It's a story of tough love, harrowing loss, and ultimately the power of unity in overcoming life's greatest challenges. The comedic overtones are matched seamlessly with the dramatic undertones to provide a very cathartic experience. The most amazing performance stems from Lene Tiemroth, who plays a bit role as the mother of the hairdresser, Karen. This is a very unassuming picture that seems so basic on the outside, but as you continue to dig deeper, real "pearls" of wisdom are there for the taking. Take note that the jumpy camera work, natural lighting, production sound, and choppy editing are not easy to swallow at times, but "Italian for Beginners" is still a class that everyone should take.

If there is one thing originating from Denmark that the world can be thankful for, it's the Dogma 95. Although the rules are more or less constantly broken by the directors, it has served it's purpose well - inspiring the creativity to new levels. The Dogma provides the movies with an injection of reality. Through (e.g.) the hand-held camera, the more or less nonexistent soundtrack, the lack of special lightning and the fact that the actors actually carry their own clothes, you get a feeling of authenticity that very seldomly (if ever) appears in the standard big-budget-movie.

To the film: It's a story about friendship, about finding someone to trust or even love. Most of the main characters have different emotional problems, giving them problems with normal social relations - something that we all can relate to in times of crisis. They all use the Italian language course as a way to meet someone, nurturing a hope for closeness. The different Christian symbols and themes also give the film depths that might not be so easily seen, watching the movie for the first time. One might be a bit disappointed that the main story is a bit simple - but take another look, and think a step further. It will give you a rarely experienced insight into man and religion.

I went to see this film after having read reviews which made me expect an insightful comedy, light-hearted but not superficial.

In all fairness, I was disappointed.

This film is really nothing to write home about. I'd say it's pretty dull but for the strange sense of humour which makes it a bit amusing.

It's reminded me also of "Amélie" a bit. Like "Amélie", it's pretty sweetish.

I've been very surprised to learn that it was awarded the "Silver Bear" in the Berlin Film Festival.

However, the thing I've found most irritating is the way in which us Italians are depicted, a way which is deeply stereotypical and misleading. I know that the film isn't about Italy and Italians, and that the Italian language course is just a pretext in order to tell the story of six people who learn to break the ice that surrounds their everyday lives. Despite that, I can't help judging this film also for the image that conveys of us Italians.

By the way, I've never heard of someone whose surname was Mercoledì ("Wednesday"), like the rather ridiculous teacher who features in the film. I can also assure you that it would be very unusual of a girl these days to pray to the Virgin Mary for her love to notice her, and that no, it's no longer true that Catholics (even Italian Catholics) only have sex after marriage.

Quite frankly, I'm tired of foreign film depicting Italy and us Italians in a way which would be nearly offensive if it weren't, more simply, just absurd.

6/10

This is one of the worst movies I have ever seen --- first of all, it was filmed on crappy videotape instead of film and the entire "movie" jumped up and down (hear of a tripod??? it doesn't move up and down...)

Let's see .... four morose funerals, eternal talk of impotency, about 3 minutes in Italy, drunken fights, non-stop talk of death, and the cover is total false advertising (I expected a lush, romantic comedy set in Italy and I got a sucky morose drag set in a 2 cent set in Denmark!).

AVOID AT ALL COSTS!