Note: Spoilers.

Although I found "Under the Sun" to be an interesting, charming, well-crafted and beautifully acted film, I can't think of any real reason other than that to recommend it. I mean, the story is about a romantic triangle that gets increasingly less interesting as it evolves (perhaps like most love triangles).

The film is co-scripted and directed by Colin Nutley. It's a Swedish film. It's about this older guy, who has lived alone for quite awhile on his farm, who advertises in the paper for a housekeeper. It is obvious that, in fact, what he is looking for is a love interest. When a beautiful woman arrives, it sets in motion a love story of profound and intensely personal and human qualities. Unfortunately, this tender and romantic story is poisoned by a arrogant and jealous young male friend of the farmers. The time is apparently the early 60's (perhaps very late 50's) and the young man is a classic example of Hollywood JD style. He is James Dean. He has financial dealings with the farmer and doesn't want to see a woman cutting in on someone that he can exploit. So what we have here, basically, is James Dean and an oaf (the farmers name is Olaf) vying for the affection of Grace Kelly.

Of course, we don't get this at first. The young, wannabe rebel's jealousy, in fact, at first, seems almost homosexual. It's interesting and titillating to consider what his motives might be. But, unfortunately, as the film progresses, we see him to be more and more two-dimensional. His concerns become more clear and more humdrum. Likewise, the woman becomes more and more in focus for us. Although we are tempted to think she will exploit the oaf as well, we come to see, in their personal moments together, that she does have an intense and devoted love for the lummox (as do we). What we don't consider, really, until the film suggests we consider it, is that she has a history.

For a while, falling in love with the lummox and flirting with the young man makes us question her motives. Those who identify with the woman, as I did as a gay man, find it interesting to consider her options. On the one hand, the oaf is charming in his simplicity, honest and loving. The rebel, meanwhile, is all sex and fucking. He takes off his shirt and impersonates Elvis and we laugh to cover our own swooning. Although the choice seems obvious, we wish that the two men could be combined as one. We want Jools and Jim. Grace Kelly here is more sure of what she wants than we.

Filmed beautifully, with the natural locales aching with purity and simplicity, the film reminds us of a bygone time of romanticism and charm. But Nutley insists on reminding us of the changes that are afoot. In addition to the James Dean character's rock'n'roll attire, he also drives a convertible and listens to pop music on his radio. He is the future. He is modernization. He is the death of simplicity.

Nutley also, for no thematic reason whatsoever, continually cuts away to shots of an airplane flying in the clouds. When things are good, the plane seemingly drifts; when things are bad, it flies aggressively. But airplanes have nothing - absolutely zero - to do with this film. It's a visual analogy that has no place in this film. Perhaps if the James Dean character were a flier, it would mean something, but he is not. He's a sailor. At the end of the film, in a contrived move, he sets off to sail on the Andrea Doria.

There are other problems too. The music in the film by Paddy Maloney (of the Chieftans) sticks out like a sore thumb. The minute the composer's name appears in the opening credits, we become aware of how incongruous the music is with the film. The music is Irish and has that modern "new age" feel. The film is set in Sweden in the past. The two do not mix. It makes no sense. Why, Mr. Nutley, why?

Finally, "Under the Sun" insists on having it both ways. It wallows in a sorrowful ending for awhile before reverting to the happy ending we want. In the end, the charm and the innocence of the oaf, the farm, the simple things, seduces us.

But in the real world, James Dean is not one-dimensional, the future is not one-dimensional, it has its charms and its allures as well. Both simple life and modern life have their pros and cons. This film insists that the choice is simple. In the real world, as in love, it never is.

Note:

In Swedish with subtitles. A few words of English pop up here and there.

Scripted by Nutley with Johanna Hald and David Neal. Based on the short story "The Little Farm" by H.E. Bates.

Starring Rolf Lassgard and Helena Bergstrom, who have worked with Nutley in the past, and Johan Widerberg, son of filmmaker Bo Widerberg. All three actors appear in Nutley's forthcoming "Gossip."

Nominated for an Academy Award for Best Foreign Film.

Report Card Script: B- Acting: A+ Cinematography\Lighting: A+ Special Effects\Make Up: A+ Music: F Final Grade: B-

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