Plantiana
Yawn. Poorly Filmed Snooze Fest.
StunnaKrypto
Self-important, over-dramatic, uninspired.
Sameer Callahan
It really made me laugh, but for some moments I was tearing up because I could relate so much.
lizardjims
''The Last Sentence'' (original title in Swedish- ''Dom över död man'') is the story of Torgny Segerstedt, a Swedish journalist whose fierce anti-nazi articles became a matter of great concern within the country's political life and stirred major backlash both in Germany and Sweden. The movie begins with Adolph Hitler's rise to absolute power in Germany in mid-1930s and follows the growing aggressiveness and hate-speech of the Third Reich until the ending of the Second World War, examining the influence and effect that the threat of a possible German invasion had on the decision-making of Sweden's government. The film focuses on the much-debated neutrality of Sweden and Segerstedt's bold critique on the inactivity of Swedish politicians even when Nazis invaded the neighboring Scandinavian countries. The basic flaw of ''The Last Sentence'' is that it follows an uneven rhythm and as a result, the movie can be divided into two parts, the first being tedious, almost annoying, while the second picks up speed and leads to an emotionally touching climax. The director, Jan Troell, is one of Sweden's greatest auteurs and each one of his films is characterized by its high-quality standards as well as magnificent performances. In this one, I think that Jesper Christensen's performance deserves to be in the spotlight but the whole of the cast does a tremendous job as well. My rating would be closer to 3,5/5.
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.
stensson
Jan Troell is the nestor of Swedish films. He's been directing for 50 years and bringing on Torgny Segerstedt is of course an interesting choice of subject. Segerstedt was one of few journalists who completely stood up against Hitler during WW2. A story of courage in a special way, since Sweden never took part in the war.So this could have been a discussion about common political morals, but instead it's a discussion about Segerstedt's private life and most of all his mistresses. Of course you can make a movie that way, if it has a substance referring to the man's work, but this isn't the case here. It's more about anybody's love life.And there isn't any magic about it. The work should be bigger than the man than it comes to somebody like Segerstedt.
