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Posts Tagged ‘Nicolas Bro’

When we talk about genre movies we’re usually talking about highly distinctive genres with very definite conventions – something can be a good example of a western, or a rom-com, or a martial arts movie. These kinds of films often get looked down somewhat – I remember being rather condescendingly nicknamed Genre Boy by a colleague whose own tastes in film were, they clearly felt, somewhat more elevated and refined. At the risk of sounding like a cross between China Mieville and Bertrand Russell, I don’t have much time for this: if the concept of genre is to have any validity, then it applies to everything. You can’t write a book that doesn’t belong to a genre; nor can you make a non-genre film – it’s just that the genre conventions are looser and less obvious in some cases.

‘Drama’ is one of those loosely-defined genres; ‘comedy’ may well be another. It’s not that often that we see one of the less reputable genres smashing into either of them; your genre mash-up is usually something like a kung fu-western or a horror-road movie. But such a thing is possible, and Anders Thomas Jensen’s Riders of Justice (title pa Dansk: Retfærdighedens Ryttere) is a pretty good example of it.

Mand dagens Mads Mikkelson plays Markus Hansen, a veteran officer in the Danish army – ‘tough guy’ doesn’t begin to do him justice; he is as hard as stone. This doesn’t always make him the easiest person to live with, but his wife and daughter Mathilde (Andrea Heick Gadeberg) seem quite fond of him anyway. However, everything changes when Mathilde and her mother are caught up in a train crash, which only Mathilde survives.

Markus flies home on compassionate leave and the two of them attempt to process their loss, which is probably easier for her than him. Something unexpected enters the situation with the arrival at their door of Otto (Nikolaj Lie Kaas), a statistician who was on the train as well, and who gave up his seat for Markus’ wife. He believes the accident – which caused the death of a man due to give evidence against a biker gang involved  in organised crime – was too improbable to be anything of the sort, and the gang – the Riders of Justice – were responsible.

Markus wants to see Otto’s evidence, of course, which involves bringing his associates into the picture: fellow computer and data experts Lennart (Lars Brygmann) and Emmenthaler (Nicolas Bro). Soon the nucleus of a very unlikely vigilante revenge squad is forming, with the others in awe of and possibly slightly frightened by Markus’ hard-man charisma, and him dependent on them to get him where he needs to be…

We were talking very recently about the phenomenon of the bus-pass bad-ass movie, which this is sort of heading towards being (Mikkelson is 56 this year), but – the fact he’s the father of a teenage girl notwithstanding – the movie isn’t really about his age as much as the fact he’s a man with a certain set of skills and a very compelling incentive to use them. From some angles it looks very much like a straight down the line revenge thriller, complete with suitably heinous villains to be dealt with.

However, looked at another way, this is a very different kind of film – or at least, a combination of two or three very different kinds of film. Otto, Lennart and Emmenthaler are a trio of oddballs and misfits, much given to geekish squabbling over absurd minutiae and obsessing over niche details (Lennart has some sort of monomania when it comes to well-constructed barns, for instance, though there are hints that this stems from his own very troubled past). Their various fallings out are absolutely played for laughs, and are all the funnier for being set against Mikkelson’s baleful restraint. It’s a bit like the Punisher going into action backed up by Dad’s Army or the characters from The IT Crowd.

But it’s not just a simple black comedy-thriller: throughout the film the script takes a keen interest in the chain of cause and effect, and the reasons why things really happen, and appears to conclude that while the world is deterministic and comprehensible, this doesn’t occur on a scale which is accessible to the human brain. We may never know exactly why things happen, tragedies included: the deaths of our loved ones will always seem savagely random.

How people cope with grief and the cruelty of the world is really what this film is about: the revenge thriller bit is very engaging and the comedy business between the different characters extremely funny, but at its absolute heart this film deals with Markus’ inability to process his emotions and come to terms with the death of his wife, or establish any kind of bond with Mathilde. He refuses the offer of trauma counsellors for either of them; the irony is that he’s forced to pretend his new associates are exactly that, to explain what they’re all doing in the barn all day. The triumph of the film comes not just through the resolution of the biker gang revenge plotline, for this is a very ambiguous and dark kind of triumph, but through the bonds that have developed between Markus, Mathilde, her boyfriend, Otto and the others, and even a Ukrainian former sex slave they pick up in the course of the story.

The big challenge of this kind of film is to find some kind of consistency of tone, given the swift transitions between drama, comedy and action which occur throughout the film – Jensen pulls this off extremely well, unafraid to push the boundaries of each (some of the comedy is extremely droll and silly, some of the drama genuinely affecting, and some of the violence quite difficult to watch). There is a sense in which some of the connective tissue of the plot seems a little dubious – this is pretentious pretend film-critic talk for ‘the story depends on a couple of whopping coincidences to function’, but then again… I run the risk of committing spoilers here, so I must stop.

Riders of Justice gets more serious and less funny as it goes on, more or less, but it’s still a distinctive and highly original film filled with good performances and interesting ideas. It’s the sort of film I can imagine them remaking in America with only a fraction of the subtlety and wit, to considerably less effect, so it might be best to catch the original now while it remains unsullied. A very hard film to describe, but well worth seeing.

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