SMILLA'S SENSE OF SNOW
A film review by James Berardinelli
Copyright 1997 James Berardinelli
RATING (0 TO 10): 7.0 Alternative Scale: *** out of ****
Denmark/Germany/Sweden, 1996 U.S. Release Date: beginning 2/28/97 (limited) Running Length: 2:01 MPAA Classification: R (Profanity, violence, sex) Theatrical Aspect Ratio: 2.35:1
Cast: Julia Ormond, Gabriel Byrne, Richard Harris, Robert Loggia, Jim Broadbent, Vanessa Redgrave, Mario Adorf, Bob Peck, Tom Wilkinson, Clipper Miano Director: Bille August Producers: Bernd Eichinger, Martin Moszkowicz Screenplay: Ann Biderman based on the novel by Peter Hoeg Cinematography: Jorgen Persson Music: Harry Gregson-Williams, Hans Zimmer U.S. Distributor: Fox Searchlight
SMILLA'S SENSE OF SNOW (say it three times fast and sound like an asp) opens with a breathtaking image: great cliffs of gray-blue ice towering over a vast plain of white. Once the opening credits have concluded, we suddenly find ourselves adrift in a special effects- enhanced prologue set in 1859 Greenland. And, while this sequence seems completely disconnected with the movie that follows, it is a visually pleasing way to introduce a contemporary mystery that incorporates murder, greed, and science fiction into an often uneven, occasionally preposterous, but always engrossing whole.
Based on the novel by Peter Hoeg, SMILLA'S SENSE OF SNOW is truly an international production. The cast is comprised primarily of British and American screen luminaries; the director, Bille August, is a Dane; and the film's funding comes from Germany, Denmark, Sweden, and the United States. Although the action transpires entirely in Copenhagen and Greenland, the dialogue is exclusively in English, with nary a subtitle to be found.
Julia Ormond (SABRINA) plays Smilla Jaspersen, a half-Inuit mathematician who currently resides in Denmark. One day, upon returning to her apartment, she discovers that Isaiah (Clipper Miano), the child who lives on the floor below her, has fallen to his death. The authorities say the fall from the roof was an accident, but, citing certain irregularities about the incident, Smilla claims it was murder. Another resident of the building (Gabriel Byrne) agrees with her. When the local police stonewall her, Smilla begins investigating on her own, and, the deeper she gets, the more dangerous the situation becomes. Her inquiries lead directly to the powerful and wealthy Dr. Tork (Richard Harris), the head of Greenland Mining, who is behind a cover-up that includes, among other things, a host of prehistoric worms (I am not making this up).
As thrillers go, SMILLA'S SENSE OF SNOW is definitely unconventional. The locations are atypical, the protagonist is a woman who doesn't run into the arms of a man at the first sign of trouble, and there aren't any car chases. The storyline is reasonably complex (not to mention a little silly) and features enough small surprises and twists to retain the average viewer's attention. And, the fact that it's a "why-dunnit" or "how-dunnit," rather than a "who-dunnit," allows us to focus on more interesting issues than identifying possible red herrings. As crisply directed by Bille August (PELLE THE CONQUEROR), SMILLA'S SENSE OF SNOW moves rapidly -- almost too rapidly. The plot clicks along so briskly that numerous character details get lost in the rush.
Smilla, as forcefully portrayed by Ormond, is a fascinating character, but many of the more interesting aspects of her personality are relegated to the background. She's sullen, lonely, and angry, and, while a brief flashback or two attempt to explain why she is the way she is, they only hint at the reasons for her deep-rooted bitterness. In fact, there were times when I actually became annoyed at the film for pursuing the plot with single-minded determination rather than taking a few moments to delve more deeply into the main character. Smilla is presented with enough detail to tantalize, but not enough to satisfy. In the end, we're left wishing the movie had spent a little more time filling in a few more blanks.
Aside from Ormond, whose turn as Smilla is both effective and attention-grabbing, and Richard Harris, who brings a world-weary cynicism to his part, the acting is surprisingly lackluster. Vanessa Redgrave is unremarkable in a cameo as a retired secretary with a key to secrets, and Robert Loggia, as Smilla's father, is a little too restrained (the actor always seems at his best when chewing on scenery). Most disappointing of all, however, is Gabriel Byrne, who seems ill- suited for his role as Smilla's sidekick. He's supposed to be enigmatic, but the actor's one-note performance makes him lifeless.
The film's climax will probably seem preposterous for anyone expecting SMILLA'S SENSE OF SNOW to stay grounded in reality. If nothing else, the opening sequence should prepare you to accept that boundaries not normally crossed in murder mysteries will be broken. SMILLA'S SENSE OF SNOW is not a landmark thriller, nor is it likely to appeal to those who demand a semblance of reality. But it is involving and entertaining, and features an intriguing, independent heroine. Those things alone make it worth a trip to a nearby theater.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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