THE SLINGSHOT
A film review by Scott Renshaw
Copyright 1994 Scott Renshaw
Starring: Jasper Salen, Stellan Skarsgaard, Basia Frydman, Niclas Olund. Screenplay/Director: Ake Sandgren.
It may be my imagination, but the last two years seem to have been a particularly good time to be a young actor. Films focusing on younger characters have been everywhere, from FREE WILLY to SEARCHING FOR BOBBY FISCHER to KING OF THE HILL to THIS BOY'S LIFE. Whether it's representative of some societal yearning for a return to innocence, a rare influx of young talent, or some happy confluence of the two, coming-of-age dramas have become nearly as ubiquitous as Hugh Grant. None of which makes a good one any less desirable, and THE SLINGSHOT is a good one indeed, a sharply written Swedish import with a singular perspective and exceptional performances.
Based on an autobiographical novel by Roland Schutt, THE SLINGSHOT tells the story of ten-year-old Roland (Jasper Salen) and his trials and tribulations living in 1920's Sweden. He is a boy with two strikes against him, the child of a dogmatically socialist father (Stellan Skarsgaard) and a Jewish mother (Basia Frydman). This lineage makes him the target of schoolyard bullies, sadistic schoolmasters and government officials, who tend to use him as a scapegoat. Even with his family he is not safe, as his older brother (Niclas Olund), an aspiring boxer, uses him as a punching bag. But in spite of his many obstacles, Roland navigates through his difficult world with determination and an inventive spirit.
As with the other recent films I mentioned, THE SLINGSHOT rests squarely on the small shoulders of its young star, and Jasper Salen is up to the task. With a round, open face reminiscent of A CHRISTMAS STORY's Peter Billingsley, Salen manages to convey both innocence and toughness in the delicate balancing act required by Ake Sandgren's adaptation. While many things happen *to* Roland, he is never merely a receptacle. He exhibits a cockiness born of necessity, and a gift for utilizing the tools at his disposal to get ahead. When another boy offers Roland a used bike he hasn't the money for, Roland offers to repair and paint some other bikes to repay his debt. After a fight with his brother results in Roland owing his father money as well, he tries to earn it by selling balloons made out of the condoms his mother distributes illegally. Roland is always thinking, and it is this intelligence that comes through in Salen's performance. He is complemented by a wonderful supporting cast, particularly Stellan Skarsgaard as Roland's father, a driven man who compensates for his crippling sciatica by pushing himself and his family to their limits.
Although THE SLINGSHOT is, as one might expect, primarily episodic, it is still rich enough thematically that it never feels like merely a loose collection of scenes. Foremost among these themes is the clash of capitalism and socialism, personified by Roland himself. While his father lectures to him about the revolution, Roland fashions many creations with condoms, and imagines himself credited as the inventor of "The Underwater Sock" and "The Condom Slingshot." When Roland shows a cat his newly refurbished bike and says to it, "That's mine," it is as succinct a statement of rebellion as one might imagine. There is also a nicely played scene in which Roland's father, who is acting as a body double for a portrait of the King, momentarily forgets his politics when he puts on a pair of expensive shoes. This is not to say that THE SLINGSHOT acts as little more than a one-sided political tract; Sandgren is equally critical of the restrictive government policies which turn the Schutts into criminals for advocating birth control. However, it is Roland's internal struggle with his heritage that makes his external struggles even more potent.
THE SLINGSHOT's key failing may be that it tries to do too much, and some of the scenes begin to seem repetitive. The obligatory moment of sexual awakening seems just that--obligatory--and ends with a scene surprisingly lacking in emotional punch. A late series of events which involves Roland's implication in a crime bogs down seriously, and removes him from the relationships which drive his story. Those relationships, particularly Roland's complex interaction with his father, are what make THE SLINGSHOT memorable. Thanks to Jasper Salen's splendid work, THE SLINGSHOT takes its place as a worthy addition to the list of fine coming-of-age films.
On the Renshaw scale of 0 to 10 condoms: 8.
-- Scott Renshaw Stanford University Office of the General Counsel
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