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| Love Is All You Need |
After the Denmark Incident, the Family had decided to
boycott all things Danish. It is only recently that the embargo is being lifted
and hence this movie. This one is escapist fare for women of a certain age. It has a trite storyline, unlikable
characters and gets by on the strength of performances.
Ida’s daughter Astrid, is marrying her beau Patrick, in
Italy and their family and friends descend in Italy to participate in the
festivities. All of them have some issues that will be addressed in due course of the movie.
Hairdresser Ida has completed treatment for cancer and is
on tenterhooks about a relapse. She is at an absolute low - her looks are
fading, she is edgy all the time, her children are leaving the nest and her cad
of her husband is cheating on her with a younger colleague. Possessing very low
self-esteem, she blames herself for her husband’s infidelity and pleads with
him to not leave her, even after catching him red-handed in their own living
room.
Patrick’s father, Philip, is a British businessman in
Denmark who trades in fruit and vegetables. He owns a farm in Italy and is
hosting the planned wedding. He is a widower who immerses himself in his work
to overcome his anger and loneliness. He is immune to the charms of the women
who throw themselves at him but falls for the simple hairdresser, his son’s future
mother-in-law.
An assortment of supporting characters tries to enliven
the proceedings.
Astrid is having serious doubts about the strength of her
relationship with Patrick who is growing distant as the wedding date
approaches.
Patrick has spent a lifetime trying to bond with his
intimidating father and must come to terms with his identity, perhaps at the
stake of his future.
Ida’s husband Leif brings along his scatter brained girlfriend Tilde to the wedding snubbing Ida even as their
son Kenneth tries to fob them off in defense of his mother. Philip’s sister-in-law Benedikte has her eye on him and will go to any length to seduce him and secure her meal ticket.
These are meant to be foils to the leading actors, but don’t
really add value except to clear the path for Ida and Philip to be together in
a non-gross sort of way.
Super-suave Pierce Brosnan, who is aging like fine
wine, appears to have wandered off the Mamma Mia set onto this movie. His gruff
manner is the only indication that this is a different film. It is an easy role and he tries to bring an earnestness to his character but mostly sleepwalks his way to the bank.
Pretty boy Sebastien Jessen brings a heart breaking
helplessness to Patrick although he wears out his welcome quickly as he morphs into the mandatory gay character. It is an easy way out for the writers to breakup the wedding and clear the way for the Ida-Philip story while also being politically correct and all-inclusive.
Molly Blixt Egelind is wide-eyed and fresh as the loving but naive Astrid. Astrid loves to take care of her hair - her roots keep changing color and finally she is all blond at the wedding.
Paprika Steen as the loud and obnoxious Aunt Benedikte brings energy to her scenes but she doesn't have much to do.
Trine Dyrholm is the only reason to watch this movie –
she is equal parts vulnerable and vibrant and lights up the screen. Saddled
with a weak character, she puts her big blue eyes and radiant smile to work,
trying to depict Ida’s inner turmoil and bravery in the face of everyday
struggles.
There are many questions left unanswered about why
the characters put up with each other in the way that they do. The chief
question though is why a professional hairdresser would choose such an obvious,
unflattering wig for herself.
There are better ways to spend time than watching this movie, but it is a harmless couple of hours and the Italian setting brings in sunshine, color and cheer to a dull day.
