sergepesic Personal courage becomes a scarce commodity when the times get tough. And there weren't times much tougher than 1930's and the rise of Nazism. Europe stood paralyzed in an unlikely marriage of fear and denial. Veteran director Jan Troell tells a story of a public figure that bravely attacked Nazis in his newspaper column. Torgny Segerstedt was revered and much suspected. His principals made the others look corrupt and petty. And they were, but that is beside the point, because nobody has more concern about appearances than the immoral and tainted. The interesting quirk of this brilliant movie is that Torgny himself was a deeply flawed human being, in turns neglectful and cruel to his wife and kids. Somehow this man with such strong sense of morals, cared about the humanity in general, but alas, not for individuals. Well, that might be understandable. The messiness of humanity would try the patience off all saints combined. Our times prove that beyond any doubt.

Sindre Kaspersen Swedish cinematographer, screenwriter and director Jan Troell's thirteenth feature film which he co-wrote with Danish screenwriter Klaus Rifbjerg, is based on a biography about Swedish publicist Torgny Segerstedt from 2007 which was written by Swedish writer, actor and director Kenne Fant. It premiered at the 23rd Stockholm International Film Festival in 2012, was shot on location in Luleå, Gothenburg and Stockholm in Sweden and is a Sweden-Norway co-production which was produced by Swedish producer Francy Suntinger. It tells the story about Torgny Segerstedt, an editor-in-chief of a daily newspaper called Göteborgs Handels- och Sjöfartstidning who lives in Gothenburg with his wife Puste, their daughter Ingrid and his three dogs. Torgny is a strong opposer of the reigning regime in Germany which is questioned by many and he often attends upper-class parties with Puste who mostly stays in the background and observes him and his lover Maja Forssman.Precisely and brilliantly directed by Swedish filmmaker Jan Troell, this finely tuned biographical story which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a mindful portrayal of a Swedish theologian in his late fifty's and his relationship with his Norwegian wife, a married Jewish woman and his somewhat lonely battle against the German national socialism. While notable for its naturalistic and distinct milieu depictions, distinct black-and-white cinematography by Jan Troell and Swedish cinematographer Mischa Gavrjusjov, production design by Swedish production designers Pernilla Olsson and Peter Bävman, fine costume design by Swedish costume designer Katja Watkins, editing by Jan Troell and film editor Ulrika Rang and use of sound, this character-driven and historic drama depicts a nuanced and involving study of character and contains a great score by Norwegian composer Gaute Storaas.This tangible, romantic, political and conversational tale about a truly dedicated anti-Nazi who some thought would jeopardize the national security of Sweden due to his outspoken publications about Nazism and possibly drag his country into the war, is set in West Sweden before and during the Second World War in the 1930s and early 1940s and is impelled and reinforced by its cogent narrative structure, substantial character development, quick-witted dialog and the remarkable acting performances by Danish actor Jesper Christensen, Swedish actress and director Pernilla August, Swedish actress Ulla Skoog and Swedish actor Björn Granath. A reverent, enigmatic and atmospheric narrative feature which gained, among other awards, the award for Best Director Jan Troell at the 36th Montreal World Film Festival in 2012.

maurice yacowar Two kinds of evil are analyzed in Jan Troell's The Last Sentence.The first depicts Swedish journalist Torgny Segerstedt's (Jesper Christensen) crusade against Hitler. As editor of an economic daily he campaigned against Hitler and for Sweden's going to war against Nazi Germany. Segerstedt contends that acquiescence to evil only nourishes it. We are responsible for what we allow, not just what we do. Despite the Swedish king's probably correct judgement that Germany and Russia would destroy the Swedish army in a fortnight, Segerstedt sticks to his campaign. His move from Scandinavian concern to the wider European is evidenced when his new bulldog Winston succeeds the poisoned Soren (a Kierke-guard dog?). As we know, Hitler's early sweep was facilitated by the surrender and compromises of state heads who lacked Segerstedt's courage and clarity. In this respect the film reflects upon the current debate over how to deal with the rise of jihadist-based anti- Semitism, in which the Scandinavian countries are very much in the vanguard. How "neutral" was Sweden in WW II and what was its effect? What cost neutrality or acquiescence now?The second moves from the political evil which Segerstedt addresses to the personal evil which he embodies. This fiery journalist is a surprisingly unimpressive man, an academic still obsessed with having failed his thesis (on the origin of polytheism), who has been essentially made by the women to whose spectres he turns after their deaths -- his mother, his wife, his wealthy Jewish intellectual mistress. Despite his open adultery he seems so insecure in his manhood that he keeps two huge mastiffs and the massive bulldog. www.yacowar.blogspot.com

johan-364 Even with the best intentions from its filmmaker, this film falls utterly flat.Written, directed and edited by Jan Troell, this production is the result of a tired, former champ filmmaker.Bottom line, he's done the worst sin all filmmakers can make. He's made a dull movie.Unengaging and without any resemblance of growing conflict, the film is merely a series of historical moments without any clear through-line. The story illustrates none of the severe consequences that this man caused. It merely hints at this and leaves the viewer unaware of the life threatening situation. The producer should have required the writers to make a dramatic story.The black/white look is suitable yet too crisp and sterile for its purpose. Seemingly grain-less, the digital image lacks mood and authenticity. Film and grain would have added a much needed filter.