If you were to ask one hundred Danes about their favorite top one hundred Danish films, chances are they'd mention a fair share of the same films. And a great deal of those will probably star Dirch Passer, Ove Sprogøe and Ghita Nørby and have been made mainly in the sixties. It's strange, then, that you can be fairly sure none or at least very, very few of those asked would mention this film. And I simply can't give good reason as to why.
You see, to me, this film is such a fine, little wonder. It's a classical sixties sex comedy, and it's as classically hypocritical as any from that age when it comes to gender and sex. If that bothers you, skip it. If, on the other hand, comedies from that age by such directors as Billy Wilder, Stanley Donen or Robert Mulligan are your thing, I suggest giving this one a chance.
The plot itself barely bears to be mentioned and really just serves as the base for a nice escapist venture in snowy Norway. Strøbye as the well-off Alan is tired of routines and his wife and her routines as well. His solution is as tired and trite as you might well imagine. An affair he's certain should be made permanent. To that end he needs out of his current marriage, but as he learns, that can be costly. So why not push her, gently, into the arms of a new lover that'll relieve him of any financial woes in a contentious divorce? And where better to meet such a man than on a nice holiday? And we're off on a ski holiday to lovely Norway.
Axel Strøbye never quite reached the career heights of Sprogøe, Passer or Nørby although he was their equal in every way, and here he once again proved it. His character is the crux of the story and Strøbye carries it off marvelously. Nørby and Sprogøe flanks him wonderfully, though, and it's in this trifecta that the film lives and breathes.
Sprogøe is perfect as the slightly caddish pharmacist who's on the prowl on the slopes while Nørby brings her effortless charm to a role that admittedly doesn't have that much gravitas. We're in luck, then, to have Nørby in the mix as any less than her extraordinary charisma could have sunk the film.
While the plot might be trite and seem flat on the outset, the script itself is better than you'd have thought. Because what we get is dialogue between these three masters of their craft that'll seduce and beguile if you let it. It's endlessly quotable, along with intonation and look. Again, the plot itself is not the strength of the film and as it ventures into farce, we do see the limits of the film and the direction. But that's forgivable as what we're given along the way is more than enough to carry it home.
The supporting cast is made up of stalwarts of Danish cinema of the time and as such more than lives up to the main players while having less to do. And as it was with such films back then, we even get two memorable songs - the theme song sung by Bundgaard and a wonderful crooner style piece by the competent crooner, Dario Campeotto.
I suggest watching this one on a lazy, rainy Sunday afternoon for an experience as nice and cozy as the locales of wintery Norway themselves.
