Bret Mann Within the happenings of a twenty-four hour time period, the saying "what a small world" is perfectly captured by director Erik Poppe in this multi award winning film, Hawii, Oslo. The Norwegian film released in 2004 delivers a thrilling plot with a mix of people crossing each other's paths one way or another. Amongst multitude of events all happening during the sweltering hot 24-hours in Oslo, Poppe utilizes various creative filming techniques and intense, emotion-triggering music to make the viewer remember this day they watch on screen forever.We are introduced to Leon, a man living in an institution, waiting hopefully on his birthday for the arrival of Asa, the lady he promised to marry ten years back. While waiting for her arrival, Leon's brother, in prison for armed robbery, is allowed to go visit and celebrate the day with Leon. Though the prison puts trust in him to visit Leon, he has a secret plan to rob a bank and flee with his brother. As Asa makes her way to reunite with Leon she comes across two young boys, Magne and Mikkel, extremely lost in the world while processing their father's death and about to be separated by the foster care system, who steal her purse. Asa catches Magne, the younger of the two boys, and comes to find the disaster of an apartment and poor conditions the boys have been living in. A little later in the film, the boys' mother, whom recently attempted suicide, appears at the father's funeral because of the notice Magnus leaves her. We also encounter Frode, Milla, and their newborn son Aaron, who has a serious heart defect in need of an expensive surgery. Frode holds on to hope, as Milla has lost hers,and goes on a desperate search for 900,000 kroner to pay for a surgery. Frode unexpectedly crosses paths in a bank with Leon's brother and later in a park with Leon, ending up with the stolen money from Leon's brother's robbery. As extremely chaotic each of the characters lives unravels, each of them interacts with Vidar, a worker at the institution where Leon stays. While Vidar can foresee future events through the dreams he has, he is given insight into each of the people's lives we are following. While conflicted about whether what he knows is a part of reality or just a dream, he runs around Oslo attempting to save the people that might be in danger.From parts of the movie being filmed using a hand-held camera technique to the raw close-up shots on the faces of the actors during moments of pure intensity and emotion, Poppe flawlessly instills the emotion being portrayed on screen within the audience members. The hand-held camera shots made me feels as if I was one with the event occurring on the screen. The close-up shots during extremely important events, from the reunion of Leon and Asa to the tragic death at the end, allow us to relate to the scene as if we were standing right there with the actors. Both of these techniques utilized by Poppe create such an important connection between the film and audience members.To further reflect the emotions shown on screen into the viewers, purposefully selected music complements the climaxes of many scenes. The music takes the place of much of the verbal exchange that would otherwise occur between characters. The replaced verbal interaction by music ultimately causes the thoughts of the actors up to interpretation by the audience member. The music sets up a certain mood that correlates perfectly with the scene that may not have been able to be achieved by solely verbal interaction between characters.With help of the camera techniques and music throughout Hawaii, Oslo, we see the character struggle to accept, uncover, and understand their various realities, as well as the search for the true meaning of sacrifice and acceptance. The way each character deals with either sacrifice or acceptance within the reality they are facing make the viewer realize the complexity of each situation that occurs on screen. While living in complete truth and acceptance of ones reality may seems easy, we are able to see and experience the struggle it really takes through the characters in Hawaii, Oslo.Among the multitude of incredible aspects Poppe's multiple award winning film, Hawaii, Oslo incorporates, the filming techniques to the intense character-audience connection are some of the most influential parts of the film. These aspects allow the chaotic day in Oslo to impact the viewer as if they were standing in the exact scene. Hawaii, Oslo is a film you will want to see, if not for the creatively constructed piece of art Poppe has put together, but to see how small a world could really be.

friedman-302-406495 Directed by Erik Poppe, the award-winning Norwegian director behind internationally acclaimed films "Schpaaa" (1998) and "Troubled Water" (2008), "Hawaii, Oslo" takes place in only 24 hours, on the hottest day of the year in Oslo. It follows an eclectic collection of people, including new parents, a mental hospital resident, and two young brothers, as they experience struggles of every kind, both within themselves and with those around them. This film, broken up as it is in order to cover all of the characters, is somewhat of a whirlwind to watch. It contains many separate intrigues, relationships, and emotions, all very intense, which may cause the viewer to become overwhelmed. But perhaps this is exactly the point. "Hawaii, Oslo" is a poignant drama that explores the complicated nature of human beings and the even more complicated connections between them. To approach this topic "Hawaii, Oslo" touches on a few key themes, one of which is the notion of what people do when they are desperate. In some way, shape, or form all of the main characters in this film are in crisis situations, though to varying degrees. Accordingly, they attempt to cope with their problems in ways that are often irrational, drastic, and highly dangerous. Frode, a new father, must deal with the news that his hours-old son is suffering from a fatal heart defect. The only beacon of hope lies in an extremely expensive and unreliable surgery in the United States. In order to get the money he first sells all of his belongings, then failingly attempts to rob a bank, and finally decides to steal the wad of (stolen) cash he finds strewn around a trash can. What's more, Frode completely disconnects from his wife, Milla, and her wish to forgo the risky surgery in favor of spending what little time she has with their baby. At the same time Mikkel, a young boy whose father has just died in a tragic seizure accident, is stricken by sadness and intense anger. To show his pain he takes to vandalizing buildings, committing petty theft, and worst of all, treating his younger brother, Magne, with disrespect and cruelty. While the quiet, sensitive Magne disagrees with Mikkel's behavior, he must participate or risk being harshly chastised by his brother. When Magne wishes to go to his father's funeral, Mikkel scoffs at him; when they do indeed arrive at the service, Mikkel makes a terrible scene, screaming swear words in the sanctuary and telling their estranged, troubled mother with disgust that he has no desire to speak with her. There are certainly other examples of characters in "Hawaii, Oslo" who find themselves in desperate situations which cause them to take extreme actions. As viewers, we sympathize and often identify with the characters and their suffering. We therefore become involved and invested in their crisis, a process which proves to be difficult and often heartbreaking. It is clear that the characters' personal struggles influence those around them, which brings us to the next theme: the effects of others on a person's life. There are plenty of examples in this film of humans' negative impacts on one another, including but certainly not limited to Frode's selfish behavior toward Milla and Mikkel's malicious treatment of Magne. However, other relationships in "Hawaii, Oslo" are beneficial and may even make life's trials easier. The relationship between Leon and Åsa is an example of the positive effect one person can have on another. Leon has been living in a mental health facility for many years and one of the only things that has gotten him through it is the promise he made a decade ago with his childhood love, Åsa: if they were both single on Leon's 25th birthday, they would marry each other. Though they have not talked since, Leon never stops believing that they will be reunited and go through with the deal. When he finds out that Åsa is waiting to see him at the local bar, Hawaii, his faith is solidified. The fact that she kept her promise as well as the love and tenderness she shows him that night demonstrates the beauty of human connection. Another example of the incredible way in which one person can influence another is the relationship between Bobbie-Pop and Viggo. After rescuing Bobbie from attempted suicide for the second time, EMT Viggo decides to try to help her. Though at first she rejects his attempts to reach out to her, Bobbie eventually appreciates his genuine interest in her wellbeing. In the scene where the two of them are talking on her couch, we see how by showing Bobbie that she is valued and important Viggo begins to improve her dangerously low self-esteem. This moving scene reminds us how the simple, kind actions of a single person can literally turn someone's life around, or even save that life altogether. This leads us to the film's most pressing theme, the main message it aims to send to its audience: the inevitability and importance of human connection. The characters in "Hawaii, Oslo" at first seem to be totally disconnected from one another. The film introduces them separately, as if each one is in his/her own little bubble. As the story progresses, they become further intertwined. The scenes contain more and more characters until finally, in the culminating event of the car accident, all of the characters come together. The connections in the film, just as in real life, are often between unexpected people who come into each others' lives in surprising ways. Though these relationships have the potential to be damaging, they are also our only means of support and compassion. Especially at times of desperation and crisis, we must trust in the people around us, whether family, friends, or strangers. This reminder of our own vulnerability and the strength we find in one another is likely what caused "Hawaii, Oslo" to win "Best Film" at the 2005 Amanda Awards.

ratcityfilmsociety Erik Poppe created a masterpiece with this work. Wonderful characters fill this brilliantly shot film. The intertwined stories are a common enough device, but they work particularly well in this movie. Each of these diverse characters is so well developed that I would watch a film built around any of them with great interest. It has become my "go to" DVD when I am in need of a powerful film to lift a sagging soul. I give it the highest possible compliment when I call it Steinbeckian. A Steinbeckian film to me is one where the humanity of all the characters, no matter how evil their actions, is on view. Empathy is generated where other films will often resort to caricature. The tension in this film leaves my heart pounding every time I watch, knowing full well what happens next. At the same time I see new nuances every time I watch it. You know, I may just pop it in the machine right now.

sojiquex Hawaii, Oslo is a story about the fear of being alone and the struggle to find someone to love. Set in present day Oslo, Erik Poppe's second film tells three different stories that intertwine. First is the story of Leon, an institutionalized kleptomaniac who is celebrating his 25th birthday. He is waiting for Åsa, a longtime friend and soon to be fiancé if they carry out their pact to marry each other if they are both single at 25. The plan becomes more complicated when his imprisoned brother, Trygve, comes with plans to escape the guard watching him and move to Hawaii with Leon. Leon is unwillingly taken on a journey through the streets of Oslo which seem to be taking him farther and farther from Åsa.Next, we meet Mikkel and Magne, brothers who are living on their own after the recent death of their father. Mikkel fears separation from his brother if they enter into state care and acts hostile towards two social workers who take them to see their father's funeral. He is also hostile towards his mother, who has not seen her boys in over ten years. She is introduced in the film with a failed suicide attempt, but finds meaning in life when notified of her children's' father's death by Magne. Her battle to become the boys' mother will not be easy as Mikkel and Magne run away to avoid separation in foster homes.Frode and Mille are the last couple we meet in the film and are the happy parents of a newly-born boy. Their joy over parenthood is destroyed, however, as they learn that their child has a rare heart condition and most likely will not survive for more than a week. Only one hospital in the world has ever fixed this kind of defect, and the operation will cost 900,000 kroner (about $155,000), far more than the couple's assets. Frode will stop at nothing to raise the necessary funds for the operation while Mille gives up on hope for a cure. Their relationship understandably becomes strained over the fate of their child.While these three story lines intertwine, they are connected by Vidar, a supervisor at the institution where Leon lives. He has the ability to see the future and past in his dreams and seems to have a platonic love for anyone he encounters. As he bumps into the troubled characters of the film, he uses his visions to prepare them for the future and comfort them about the past.The film centers on the characters' struggle to find love in their life and the fear of losing the love or fallacy of love they already have. The characters are beautifully portrayed in this aspect, and their fears and hopes seem real. Nothing is overplayed or romanticized and the stories create a fear for the worst in the viewer. Leon is driven by the memory of Åsa and is determined to reach her if she shows up. He is also haunted by the fear that she has forgotten him and that he will never see her again. Meanwhile, Frode fears losing his child and will do anything to assure a long and healthy life for the boy. He sells all his assets, including a guitar once owned by Nirvana's Kurt Cobain, but still comes up short in his quest for 900,000 kroner. With the almost certain death of his child approaching, he must act quickly if he wants to save both the boy and his relationship with his wife. At first glance, Mikkel may appear to dislike his brother, often berating and abusing him. However, this is a sign of love as Mikkel fears losing Magne and only wants to control him to keep him close. He fears his mother does not actually love them as she attempts to become their guardian once again. We see this is not true though, for she seems to need them to carry on with her life. There are some other minor story lines about love including an ambulance worker who falls for the boys' mother after saving her and the love Trygve feels for Leon.The movie also has religious and spiritual themes. Vidar uses his visions to guide and comfort the other characters and is seen as a guardian angel or even as a Jesus-like image. Early in the film, he quotes Jesus in order to stop a patient from harming Leon, saying, "Whatever you do to Leon, you also do to me." He also seems to shed feathers in several scenes and Leon even calls him his guardian angel while holding one of these feathers. There is a great scene later in the movie when we learn that another recurring character is "not who she says she is," but presumably an angel as well. These two divine figures interfere with what appears to be the fate of the characters to be alone and are a driving force for change in the lives of those around them. I did not find this theme particularly compelling but thought it was well done. Poppe presents the divine figures in a very subtle way, not making the movie about them but using them to progress the story. I also think that religious audiences will be more interested in this aspect of the film than I was.Despite these triumphs, the film does have its drawbacks. The plot takes a long time to set up and the slow nature of the beginning can take viewers out of the story. The film is not particularly unique and has nothing new to say. The ending was especially predictable and turned me off a bit. However, Hawaii, Oslo was fun to watch and really involves the viewer. The experiences in the film are ones that everyone can connect to and sympathize with, and the story, driven by many great performances, is engrossing once it takes off.7/10