Cinemucho Petter Naess's Elling (2001) delivers as a heartwarming coming of age comedy with a twist: the protagonist is not some teenager caught in the complexities of adolescence but a 40-year-old man caught in the complexities of basic daily living. The 40-year-old man is Elling (Per Christian Ellefsen), the winsome protagonist of this Oscar nominated film. Elling falls somewhere on the autism spectrum and lives a comfortable yet sheltered life until everything changes with the death of his mother and caretaker. Carted off by the Norwegian authorities when they find him distraught and huddling in his mother's closet, Elling ends up in an institution where he meets his roommate and partner in crime for the rest of the film, the lusty yet virginal Kjell Bjarne (Sven Nordin).All this plot is merely setup for the rest of the film and is communicated efficiently, though perhaps not elegantly, through a choppy sequence interspersed throughout the opening credits. The film manages to hit its stride when Elling and Kjell Bjarne venture out in the real world to live on their own in an apartment in Oslo. Prompted by their social worker Frank Asli (Jorgen Langhelle), the duo hesitantly takes on their newfound independence, navigating the familiar struggles of friendship, romance, and self-fulfillment in this well-paced crowd-pleaser.Right away Elling has trouble adjusting to his newfound independence. Explaining his troubles in an eloquent voice over, Elling says, "I've always had two enemies: dizziness and anxiety. They follow me wherever I go." This overwhelming anxiety is the root of Elling's resistance to participate in the everyday activities that Frank commands, like answering the phone, going to the grocery store, and generally venturing outside the apartment. After all, as Elling points out "Why have an apartment if we leave it all the time?!" Though many viewers may not share the fear of stepping foot outside their residences, Elling is downright relatable. This broad of appeal of the film is thanks in large part to Per Christian Ellefsen's excellent performance as the charming and nuanced Elling, a character not only tentative and bookish, but also funny, charming, and at times even grandiose.Ellefsen vivifies Elling with a nervous energy particularly apparent in a scene in which Elling and Kjell Bjarne have their first evening out alone at a local restaurant. Basking in the victory of their successful outing, Elling decides to give Frank a call to prove how well he and Kjell Bjarne are doing, but there's one problem: the phone is so far away and the path to it is so filled with people. Ellefson perfectly animates Elling's terror, moving with an inching, wooden walk and a furrowed brow that punctuates a wild stare. However, when Elling manages to reach the phone and make his first real phone call, Ellefson lights Elling's face with a glee just as intense as the terror.It would be misleading to praise Per Christian Ellefsen without also mentioning Sven Nordin's delightful turn as the lovable wannabe lothario, Kjell Bjarne. While Kjell Bjarne is initially much more easily motivated to risk the bustle of the outside world with the promise of women or food, he still craves the familiarity of institutionalized living. Accordingly, he and Elling decide to push their beds next to each other and turn their two-bedroom apartment into a one bedroom apartment equipped with a library/workshop. This sleeping situation becomes an important symbol of the quirky duo's codependent relationship and its eventual evolution into a rich friendship between two autonomous individuals.The friendship between Elling and Kjell Bjarne, and all of the growing pains it experiences, is another major theme in the film. Not only does the twosome's pairing provide rich source for comedy, but it also reveals the character progressions of Kjell Bjarne and Elling. Kjell Bjarne starts to drift from Elling's side as he becomes involved with the pregnant upstairs neighbor, Reidun (Marit Pia Jacobsen). Feeling the ever-so-slight sting of rejection, Elling decides it's time to have some adventures of his own, during which he meets a kindred spirit, retired poet Alfons Jørgensen (Per Christensen). Elling ponders incredulously in voice over, "Had I really made a friend without the help of the Norwegian government?" Indeed, he has, and more importantly, he reflects the basic human emotion of triumphant satisfaction, a feeling powerful in its universal relatability. It's the simple things in life, after all.Upon Elling's first solo outing, he dons shades and a trench coat, a superficial representation of his personal growth. However, by the closing of the film Elling no longer needs flashy new clothes to validate his transformation into a more fully self-actualized adult. The thematic relatability of the awkward process of growing up combined with the enigmatic acting by the main cast makes Elling's story one to empathize with, even if we aren't struggling with anxiety, experiencing our first apartment, or living in Norway. In the end, when he says of his new self, "Mama's boy, maybe, but a new dangerous version" we can't help but feel a twinge of pride not only for Elling, but also for ourselves.

brindlek-933-774802 The Norwegian film "Elling" delightfully swept me off of my feet. The film directed by Peter Næss portrays the journey and lives of two mentally institutionalized roommates, Elling and Kjell Bjarne, who are now living in an apartment provided by the Norwegian welfare system in Oslo. Not many films have the ability to make you self reflect the way that "Elling" can. This film through its impeccable acting and thoughtful storyline immediately forces you to relate to and essentially root for the characters to succeed. By skillfully incorporating voice-overs, implanting messages regarding mental illness, and exploring how humans can evolve, this film leaves the audience feeling hope toward humanity. An integral film technique that Peter Næss incorporated into this simplistic style of film was voice-overs. Elling would not hold nearly the same amount of meaning if the audience did not get to hear the inner thoughts of the troubled but lovely Elling throughout. Instead of special effects, sex scenes, violence, etc. Elling instead captures its audience through its dialogue. The characters reactions were always fascinating to me and the times that Elling's thoughts were voice-overed were extremely important to the audiences understanding of the characters. When Elling brought Kjell Bjarne to meet Alfon (Elling's poet friend) he said something in his mind that was important to the film overall, "There he goes again. Kjell seems to carry every person he meets. Strange". This quote holds significance in characterizing Kjell Bjarne. First it proves the wonderfully kind heart that Kjell Barne possesses in which he never receives credit for. Throughout most of the film Kjelle Bjarne is referred to as overweight, sex crazed, and an oaf. Yet by using the trauma of his past regarding his mother, he is able to help save and love everyone he meets outside of the mental institution. Elling also gains some humor through the voice-overs. Elling does not always process situations the same as others but that is what makes this film special. He states, "Elling and Kjell Bjarne, Oslo's new rescue team. Pregnant or elderly. Call day or night" This voice-over I found to be funny and made me realize that these two characters, no matter what their mental illness includes, are immensely giving and loving. Through these voice-overs I believe that Elling has the power to make you think deeper and laugh a little more than if director Peter Næss would have not used this technique. Mental illness is typically a taboo concept in societies universally, however Elling does not shy away from exposing these characters nor never shames them either. The fascinating part to me regarding the inclusion of two mentally institutionalized main characters was that the situations never became too dark nor were medications ever forced upon them for their conditions. The only direct help that was implemented was through a social worker named Paul Ånsel whom had a very positive impact on both characters. Elling in particular was displayed as an anxious, obsessive compulsive, somewhat autistic character from the beginning. Up until Elling was 40 years old he had been sheltered by his mother his entire life up until her death. We watch Elling struggle to answer a phone, answer the door, go outside and cross the street the buy groceries, eat at a restaurant. He states in a voice-over, "I have always had two enemies, dizziness and anxiety,". Yet this quote is the only direct answer the audience ever receives on what is wrong with Elling. His mannerisms and actions are not as society would claim, to be "normal", however this film puts into question what normal really is. Kjell Bjarne pushes Elling to break out of his anxieties, as does Paul but never in a judgmental way that makes him feel inferior to others. Reflecting on this idea I believe that the film was exposing a different way in which humans can deal with mental illness. Elling and Kjell Bjarne evolve into fully functioning and wonderful members of society by the end of this film. In only 84 minutes the audience feels personally invested in the two characters achieving new goals. As stated earlier, Elling completely restricted himself from everyday activities but as the film progressed we delightfully got to witness Elling breaking down his fears. One of my favorite lines of the movie was when Elling thought to himself, ""Had I really made a friend without any help from the Norwegian government?". Elling never realized his potential and I think that was the most touching part of the entire movie. Through his jealously of Kjell Bjarne and his new romance with Reidun, Elling was able to find his talent of being a poet. He began chronicling his thoughts into poems and placing them inside sauerkraut boxes in local grocery stores around Oslo only signing them with the letter E. His stated he wanted to stay true to his personality as a momma's boy and he didn't want fame, he just wanted to be appreciated as someone significant in society. Kjell Bjarne was also able to evolve throughout the film by finding Reidun and being able to hold a relationship with a woman, which was his biggest dream. The two characters never shied away from who they truly were and in essence they learned how to grow up before our eyes. This film was able to prove that change was possible even regarding the mentally ill. This film can universally resonate with any audience that watches. It touches on uncomfortable subjects such as mental illness, while giving hope to humans that change is possible. Through the voice-over techniques the audience is given a first hand look to how this complex character operates. Elling and Kjell Barne are immensely complex yet loving characters and even though this film is not flashy or scandalous it has heart and helps the audience self reflect on how they want to live their lives.

gretemiller I was so pleasantly surprised by this Norwegian movie. The characters are exceptionally portrayed. I love the different aspects of crazy that they each have to offer. The key turning points for Kjell Bjarne and Elling also happen at unexpected times, which adds a sort of realism to the film. The simple victories these characters win over their anxiety and previously extremely sheltered way of life is so satisfying. You just want them to succeed so badly, so its refreshing to see their growth. This film is about two men who room together in a state institution. Elling is a 40-year-old "mama's boy" who has lived under his mother's roof and has been babied and sheltered by her his whole life. When she dies, Elling is extracted from his home and placed in the institution where he meets Kjell Bjarne. Kjell Bjarne is a 40-year-old virgin who is obsessed with women, sex, and food. Even their first conversation as roommates together in the state institution is about sex. After 2 years, the roommates are released from the institution and sent to live in an apartment to prove that they can live on their own in society. This is where we meet the character Frank Åsli, a social worker and father figure in charge of Elling and Kjell Bjarne. Elling and Kjell Bjarne go through many struggles to learn simple tasks, such as simply answering the phone or doorbell. A big challenge for the two men is leaving the apartment. They gradually progress by experiencing growth in their fundamental life skills. Finally, they arrive at Christmas. They exchange gifts and watch a Christmas program on TV together, but this is also where we meet Reidun. She is a pregnant, single woman who lives above Kjell Bjarne and Elling. From this point on Elling and Kjell Bjarne gain more independence from each other. Reidun is also the inspiration for Elling to write his first poem. This launches Elling on society by compelling him to share his poetry secretly with the city. This is also how Elling meets Alfons Jørgensen, a famous poet, at a poetry reading. From here on Kjell Bjarne and Elling continue to adapt with the help of their new friends. Much detail was drawn to everyday tasks. It makes you realize how many life skills you actually have and that you weren't born just knowing how to answer the phone or mingle with people comfortably. Although these men are in their 40's and learning very fundamental skills of life, everyone had to learn these skills at one point. Elling and Kjell-Bjarne are so defiant and negligent toward responsibility outside of the apartment. People on the outside of their apartment of any kind make them anxious and uncomfortable to the point that they pretend they aren't home.Elling's scene where he explains that he has two enemies, "dizziness and anxiety", was especially interesting. The way that he personifies those dimensions of his character draws specific attention to them. He later shows off his progress when he ventures out of the apartment by expressing, "they (dizziness and anxiety) didn't join me this time." It is very heart-warming to finally see Elling and Kjell-Bjarne take the baby-steps they need to expand their capabilities. From these steps, their confidence grows immensely and their lives really take off. For example, while Kjell-Bjarne is ogling at the waitress at the pub, Elling is in the public bathroom for the first time trying to pee. The moment when the stranger standing next to him snaps his fingers and Elling is successful for the first time at going to the bathroom in public, is such a momentous occasion. Everything from then on spirals into successful growth towards Kjell Bjarne and Elling becoming more and more self-sufficient. That is one turning point for Elling.There are two key times in this movie. One, when Elling and Kjell Bjarne go to the pub. Elling accomplishes going to the bathroom, like previously mentioned, but then immediately after, he calls Frank on the phone and has a simple conversation just telling him what they are doing. Kjell Bjarne and Elling are so pleased about the boundaries that they just stretched that it snowballs from then on. This is when they are truly becoming independent from the institution and their apartment. The second turning point is on Christmas. Elling and Kjell Bjarne are launched into separate interests, creating independence from each other. Kjell Bjarne meets Reidun, who becomes his girlfriend and he spends a lot of time with her. Meanwhile, Elling starts writing poetry, at that same key moment, which launches him into the world of poetry. Through independence from each other and the state institution, these men gain their lives. The look of joy on Kjell Bjarne and Ellings' faces when they accomplish something is like a whole new world opens up to them. It is incredible to watch Elling and Kjell Bjarne succeed with the help of Frank, Reidun, and Alfons. This movie is truly inspiring and warms your heart to see these men succeed.

slimtoad20 Sometimes, the smallest rocks make the biggest ripples. This is certainly the case in Peter Næss' Elling, where the bond between two friends affects lives both on-screen and off. While elements of a commentary on Norwegian mental health are present, the film's strengths rely heavily on the friendship between the main character Elling and his roommate Kjell Bjarne as they traverse a world familiar to us, but new to them.Part of what makes Elling so enjoyable is its ability to engage the audience's personal history. Per Christian Ellefsen plays the high-strung Elling as he attempts to adapt into contemporary society. Found alone after his mother's death, he is sent to a state-funded institution in Oslo to learn how to live within the realm of the general public. There, he is paired with another patient who, through sexually-charged escapades, bring the two outside the city and into the dangerous outdoors. But the danger isn't nature - it's society. Elling's nervous troubles, combined with effective filmic techniques, mirror the struggles that many viewers may have faced when trying to fit into the world around them. Elling's experiences are amplified, however, by an unnamed and crippling mental disorder that causes him to collapse, sometimes literally, at the thought of social interaction. Several plot points in the film are dedicated to Elling's adventures into the dangerous public sphere around him. One such instance involves Elling's attempt to visit the local store to obtain groceries. The camera stands far back, revealing the wide scope of the world that Elling must conquer in order to achieve his goal. The sounds of traffic are artificially enhanced as Elling slowly waddles to his destination. The audience then finds him slumped on the ground outside the store, unable to will himself inside. At first, Elling fails miserably with every attempt to adapt, giving in to his hesitations and concerns. The film concludes lightheartedly, though, and the audience is left with little less than admiration for Elling. The film's ability to allow audiences to relate to the unfolding drama is part of what makes it such a satisfying product to watch.Another of Elling's strengths is the use of the dynamic between the two leads. Juxtaposing the stickler-like behavior of Elling is the gentle brute Kjell Bjarne, played by Sven Nordin. The two are paired in an attempt to better rehabilitate each other, and their humorous differences are what drive the film. The several instances of Elling criticizing Kjell Bjarne for his reckless behavior are the most memorable moments of Elling. For example, when Kjell Bjarne begins aiding a sickly woman named Rediun (played by Marit Pia Jacobsen) in a nearby apartment, Elling bombards his friend with a worry-filled rant before Kjell Bjarne forcibly inserts Elling into bed for the night. As the film progresses and Elling begins to understand the world around him, it becomes clear that it is Kjell Bjarne's friendly influence that helps expedite Elling's recovery.Elling also serves, in a broader sense, as a commentary on mental health in Norway and its treatment. Director Peter Næss explicitly stated that he "did not want to make the film about psychiatry." He achieves this desire by purposefully avoiding the specific disabilities that plague both Elling and Kjell Bjarne. Instead, the details are left to the viewer's imagination. In addition, Næss uses the character of the social worker Frank, played by Jørgen Langhelle, to help mediate the societal adaptation for the two main characters. However, Frank is not gentle in his assistance and is quick to anger. One scene pits Frank against Elling as the social worker teaches proper telephone-answering behavior. Elling's insecurities cause the scene to erupt into a shouting match about the practicality of plastic speaking devices. Serving as a tough-loving father figure for the two men, Frank represents the Nordic state and its solution to the mentally handicapped.Films like Elling are unfortunately few and far between. Many films fail to capture the universality of the main character's situation quite like Næss has done. And compared to other Nordic films, Elling is certainly a step away from its overtly tense and sexually- prevalent peers. Although the film failed to win the "Best Foreign Film" Oscar, Elling is, to this day, one of this reviewer's personal favorites. Its uplifting message and enjoyable story continue to positively affect my perspective of quality films. As I watch and share with others, its influence spreads, like ripples in a pond.