Reviews

Romantic & socially realistic feel-good film, not about relationship complications (the couple get engaged during the first ten minutes), but with housing complications. Henki Kolstad and Inger Marie Andersen are endearing in the lead roles, and make us really believe that they are in love. The film's story is both timeless and closely linked to post-war Norway. Most remarkable, seen from 2023, is the moralism they encounter from several quarters, particularly from housekeepers and other authority persons. The film contains mild criticism of this, but other than that it is not particularly critical of the society or the housing policies. It is most of all enjoyable. As I said; feel good.

I watched Sweetwater in the cinema back in 1988 and the way I remember it it was a really terrible movie. However, with the film's re-release on blu-ray and the positive comments it has received from some persons, I decided to give it another chance. And I can admit that my initial rating of 0.5 stars may have been a bit harsh. There are some redeeming qualities to the film, such as the scenography and the overall atmosphere of impending doom. Additionally, the movie features a fair share of talented actors who deliver decent performances. On the flip side, lead actor Bentein Baardson's performance leaves much to be desired, often appearing as if he's perpetually striking a pose for an 80s album cover. The film actually offers plenty of material that could have been used to create a cool 80s music video. The story, however, remains as clichéd now as it was in 1988. Petronella Barker is young and charming, but her lines are so cringe-worthy that she's unable to showcase her talent, the director seems more eager to showcase her boobs. The dialogue throughout the film is largely absurd, yet the actors deliver it with unwavering pathos.

An attempt at a screwball comedy, two private detectives are searching for a missing "sausage maker" but end up entangled in the aftermath of a jewellery heist. One would need to be exceptionally forgiving to label this as a good film. Despite featuring the era's most renowned comedian in the lead role, his comedic prowess fails to shine in this production. The film's editing and transitions are bizarre at best, the timing is askew, and the narrative lacks coherence. It neither makes sense nor compensates for its deficiencies with good humor. Its main claim to fame remains the title song, while the rest of the film is disappointingly unremarkable.