Though the film, which is set in 14th century Norway, is, in many ways, a straight-ahead love story, it also deals with the struggle between sexuality and spiritual release. After a lengthy opening, during which Kristin's family experiences some personal misfortunes, Kristin (Elisabeth Matheson) turns her back on her father (Sverre Anker Ousdal) when he promises her hand in marriage to a man she simply doesn't love (Sverre Anker Ousdal.)
After entering a nunnery to sidestep the marriage, Kristin unexpectedly falls for a young man named Erlend (Bjorn Skagestad.) Unfortunately, Erlend has had a mistress for 10 years, and has fathered two children. But that doesn't stop strong-willed Kristin, who will stay committed to Erland even if it means shattering her existence. All this torment is set against a period backdrop that, more often than not, overwhelms the script's intricate plotting. After a while, you simply end up gawking at the visuals and production design, rather than pondering the narrative.
Those elegant visuals can be traced to cinematographer Sven Nykvist, who imbues the film with a combination of down-and-dirty grit and an almost hyper-romanticized lushness. Nykvist, whose workload has dwindled in recent years, is nothing short of a genius. A list of just a few of the films he's shot reveals a massive talent who can effortlessly move between high art and pop culture fluff: Bergman's Hour of the Wolf, and The Serpent's Egg, Polanski's The Tenant, Alan Pakula's Starting Over, Bob Fosse's Star 80, and scores of other pictures directed by everyone from Nora Ephron to Woody Allen. Kristin Lavransdatter is one of his more memorable efforts.
Surrounding yourself with talent is an important aspect of any director's duties, so, between Nykvist and a very able cast, Ullmann wins on that count. But, again, you may need an espresso machine in your lap to make it through the picture in its entirety. The film is presented in a clean 1.78: 1 aspect ratio image, and luxurious colors are the main highlight. Costume drama fans will definitely have a lot to "ooh" and "ahh" over, although the costumes are often tattered or covered in dirt. It's not like this is some laminated Hollywood version of the 1300s.
Home Vision includes an Ullmann biography, the film's original trailer, and a very revealing sit-down interview with Ullmann in which she details just how much planning she commits to a project before she actually starts shooting (She likes to spend at least a year working things out before she begins!) Her commitment to detail certainly shows in the finished product, but you could argue that her lack of spontaneity is there, too.
For more information about Kristin Lavransdatter, visit Home Vision Entertainment. To order Kristin Lavransdatter, go to TCM Shopping.
by Paul Tatara
