An interesting screenplay most often hinges upon an inciting event that drives the plot and pushes the characters into a predicament which defines who they are. This inciting event within a disaster movie framework frequently shows a resolute heroic character confronting the catastrophe and saving numerous lives. Swedish film-maker Ruben Ostlund’s “Force Majeure” (aka Turist, 2014) also hinges upon a disastrous moment that changes everything. But, here no one dies; no one even suffer from physical injuries, but the moment gradually gathers up like an avalanche causing a storm that stirs up the relationship between characters. The storyline of “Force Majeure” may read like a survival drama, but it’s an eerie psychological drama that’s within the territory of Bergman.
Handsome, well-off couple, Tomas (Johannes Kuhnke) and Ebba
(Lisa Loven Kongsli) has come to a classy ski resort in French Alps with their
pre-teen children Harry (Vincent Wettergren) and Vera (Clara Wetterngren). The film opens with an amusingly awkward
photograph session, where the family stands in front of an idyllic spot, posing
with fake smiles. It kind of signals us that there is some kind of tension in
this ideal family. We could assume that Tomas is more absorbed with his work,
especially when he sneakily checks up on his phone (the trip is to give Tomas
some quality time with his children). The children also look a little bored. On,
the second day of vacation, the family is eating breakfast in an outdoor
restaurant overlooking the scenic snow-covered mountains.
Suddenly, a wave of snow starts heading their way. The
family along with other people cheerfully film the ‘controlled avalanche’ (“Don’t
worry. They have got it under control” says Tomas). But within a split second
fear overtakes them as the snow wave gathers speed and heads up towards the
crowd. Ebba immediately shields the children and looks for Tomas to help her
carry the children. But, daddy Tomas seems to have fled the scene; but not
before taking away his gloves and smartphone. The avalanche has in fact halted
before swamping the resort, casting only a hazy ‘smoke’. That too rapidly
subsidizes, and everyone is fine. Tomas reappears soon and sits down with his
family to finish the meal. Ebba couldn’t stop thinking about Tomas’ momentary
abandonment. And, what follows is a pitiless examination of marital discord.
Spoilers Ahead
Director Ruben Ostlund began his career in the early
twenties making short skiing films. With “Force Majeure” (his fourth feature
film) he wanted to focus on the absurdity of ski resort and on human’s efforts
to tame the nature. That’s why the father’s (Tomas) immediate reaction to such
a majestic avalanche is that ‘it’s controlled’. Ruben, in an interview, stated
that the story was inspired by various, real-life disaster incidents. In 2012,
a cruise ship ‘Costa Concordia’ foundered off near Tuscany (in Central Italy).
The ship’s captain lied that he tripped and fell into a lifeboat. But, the lie
was exposed (he was called ‘Captain Coward') and the captain said something like
“I am victim of my own instincts”. Ruben was inspired by these words and even
used these words in the movie (Tomas says it when he is sitting and crying
outside his hotel room). The director finds a comic sense in the way people are
looking at something spectacular and then immediately screaming and running for
their lives. Through Tomas’ reaction, the director tries to convey us that in
the face of danger we can never predict how we are going to react. Although the
characters in the movie are portrayed in an unsympathetic manner, Ruben fully
succeeds in making us think what we would do (in such a situation).
The film also concentrates on the guilt that consumes a
person after his urge for survival. Tomas not admitting to any kind of wrongdoing
stems from this guilt feeling. He repeatedly says that it’s not his version of
the story, but we know that there’s no other conflicting subjective viewpoint (because
we viewed every detail from a safe distance). Tomas’ lies also come from his
stunted male egotism, because the truth could raise questions about him being the
family’s protector or provider. In that way, Ruben weaves a more biting
critique on contemporary masculinity. Ebba’s and the children’s loss of respect
for the alpha male, Tomas is spectacularly expressed. The script is witty and
layered, especially the socioeconomic subtext, expressed through the janitor
character. In fact, the janitor is the only working-class guy in the movie. To
him, the couples’ problems seem totally absurd. Some sequences could be found
stagy and didactic, especially the extended conversation between Tomas’ friend
Mats and his younger girl friend.
Ostlund’s images are
chilly and perfectly controlled. It is constructed in a way that each frame
packs up some meaning. In one scene, Ebba serves dinner to her family, Mats and
his girlfriend, and talks about the wonderful things they have done in the
vacation. Throughout that brief conversation, we don’t see Ebba’s face (the
frame cuts off her head at the neck or she shows her back). The frame emphasizes
that the words uttered by Ebba are entirely disconnected from her real
experience. Such art-house and stoic compositions also render the perfect
voyeuristic style. The climax bus ride was filmed in a thrilling manner, and
this scene takes the debate further by flipping the earlier scenario on its
head.
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In the previous scene, we see Ebba artificially contrives a
setting which from the eyes of children restores the order within the family. But,
in the bus ride Ebba comes off a little scathed as she exhibits a momentary
instinct of selfishness. We can argue that Ebba’s and Tomas’ reaction or situation
is not the same because only men in this modern society are expected to stand
up if there’s an unexpected threat to the family. The best thing about this uncompassionate
ending (although the setting itself looks little contrived) is that it’s doesn’t
provide easy answers on Ebba’s reaction. After the whole crowd gets out of the
bus we along with those crowds standing with cellphones expect the bus to
crash. But, what unfolds is something strange, where all the people walk down
the chilly, mountain road as night begins to fall. But, one hopeful strand
could be extracted in this final scene. The father accepts a cigarette, and
when his son asks ‘do you smoke’. He answers honestly and truthfully, which is
the significant thing the character seems to lack throughout the movie.
“Force Majeure” (119 minutes) is the kind of psychological
drama that compels us to put ourselves into the characters and ask: what would
we have done in this situation? It scathingly questions the relevance of a
relationship that’s softened by wealth and deprived of trust.
Trailer
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