The Inheritance (2003)

Who payed the critics

Waste of time

Highly Overrated But Still Good

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Beauty is in the eye of the beholder. And what most reviewers believe is that The Inheritance is about how a man, bullied by his domineering mother, turns his back on a beautiful wife and life in Sweden and betrays everything and everyone, ending up a basket case and pale shadow of his former self. But they're all wrong. A contrarian reading of the film goes thusly: A man is in a relationship in which he is the subservient party. But he doesn't know it. He decides, against the wishes of his persuasive wife, and out of conscientious duty to the steel workers, to take control of the family business. He makes many difficult decisions, but all are guided by his desire to do the right thing, and for others to do the right thing by him. Where is the fault therein? He is let down by his backstabbing brother in law and his cheating wife. He forgives her, and eventually him. But, and through a classic bit of Scando' understatement we discover this, she keeps on cheating. Eventually she leaves him. Presumably Alfred (the libidinous Lothario) dumps her when she is no longer married. Christopher, our protagonist, manages to save the steel mill, reinstate some sacked workers, get his act together, get a reliable wife, and with some encouragement from Mom, basically grow up. This is a brilliant Scandi coming of age film for the fellas. It is little wonder that the luvvie set viewed it with puzzlement and decided it was an anti-capitalist polemic. The attempted rape of a middle aged, swarthy-complexioned French maid by Christopher after his wife walked out on him, was greeted with incredulity by the critics, as proof of his moral decline. But if you notice the humble maid with broom is the antithesis of his flighty, starry-eyed wife, it becomes clearer: she represents a modest, caring, constant heart, an irresistible attraction, and more evidence that the film is a vehicle, a clarion call for return to traditional values, utterly incomprehensible to the current generation of filmerati. One other thing. Pay particular attention to the opening minutes of the film. They are important for later.

Christoffer's father Aksel has died. The son of the Borch-Muller steel mill has to return to Denmark from Sweden where he had been staying with actress Maria.So the two fly home where Christoffer's mother Anneliese (who assumed the role of the head of the house) insisted that her returning son to take over the ailing family steel company. This is much to the objection to Christoffer's sister Benedikte. But their mother is firm in her decision to appoint Christoffer as the new chief.It was the start of disastrous events to come. With an impending merger with a French steel company, Christoffer has no choice but to fire 200 employees of his father's firm. His own brother-in-law Ulrik was among the ones (given he spread rumours about him), and it's something his own sister Benedikte could not accept. Christoffer even refused to talk about work matters with Maria, thus making their relationship soured even further.The eventual merger went successful, but at what price? The price of inheriting a family business too much of a burden for Christoffer, but he learns about how to deal with everyone he knows along the way, though the journey can be really painful. Family ties are also being looked into as well.

A well-to-do businessman arrives in Stockholm. On the surface he is self assured and in control, yet underneath he is a man experiencing a desperate emotional and spiritual crisis that threatens to take control of his life. Similar in theme to Laurent Cantet's Time Out, Danish director Per Fly's The Inheritance is a penetrating look at the humane cost of serving a soulless corporation out of duty and obligation. The second in a trilogy that deals with Danish life from different social levels, it is an absorbing drama of old wealth and modern capitalism that takes us into the soul of Christoffer (Ulrich Thomsen), the wealthy son of a prominent steel magnate. Reserved, almost reticent, Christoffer hides his feelings like a surprise birthday present, but when they are unwrapped they also unravel.In a flashback to five years ago, we learn that he is a successful restaurateur in Sweden, happily married to Maria (Lisa Werlinder), a Shakespearean actress who is offered a contract for one year at the Royal Dramatic Theater. Christoffer's life is turned upside down, however, when he learns that his father Aksel (Ulf Pilgaard), the owner of the Borch-Muller steel mill, has committed suicide after concealing the company's substantial debt. Like Michael Corleone in The Godfather, he is then forced to choose between his sense of loyalty to his family and his personal freedom when his imperious mother Annelise (Ghita Norby), showing no confidence in his brother-in-law Ulrik (Lars Brygmann), insists that he take over the leadership of the steelworks.Maria, unwilling to give up her career, pleads with him to refuse to lead the company, now almost bankrupt. Christoffer is hesitant and first agrees with his wife, but when he comes face to face with the company's employees, many of whom would have to be laid off, he capitulates and agrees to assume his father's position. It is a turning point in his life. Though it never becomes clear where the truth lies, Christoffer hears from his associate Niels (Peter Steen) that Ulrik is spreading rumors to undermine the company's position with the bank. He is forced to fire Ulrik, precipitating a crisis with his sister Benedikte (Karina Skands) who remains steadfast in his support and refuses to have anything further to do with her brother.When Christoffer has to dismiss 200 workers until the company can get back on its feet, it begins to affect his personality. He refuses to talk about his work with Maria and becomes totally preoccupied with completing a merger with a prominent European steelworks company. Taken aback by the callousness apparently necessary to run the business, Maria is angered by her husband's reluctance to share his problems at work and by his mother, Annelise, who tells Christoffer not to talk about his emotions. If this sounds like an episode from "Dynasty", it would only be partially true. For the most part, the characters and their motivations are too nuanced and complex for it to be considered as soap opera, though unfortunately the film lapses into melodrama near the end.The Inheritance can be viewed on several levels: as a testament to what the modern day corporation has become, a machine that inevitably gobbles up one's humanity; as the story of a selfless individual, willing to sacrifice his own happiness for his family's business; or as the sad tale of a man who is more comfortable being in a dependent relationship with his mother than in fully assuming the adult responsibilities of marriage and emotional independence. Regardless of your interpretation, The Inheritance succeeds as a compelling character study of a man who, in the process of making hard choices in the business world, loses the things in his life that are the most precious, including his self respect.

I absolutely disagree that Arven should be boring. From the very beginning we feel the dilemma of Ulrick Thomsen and is thorn apart the deeper we go in the story, as we feel his pain and his obligations. Per Fly is an exellent director who forces his actors to do their vey best and it shines through the whole movie. The acting is deep and sensitive. It's exellent. Director Per Fly also understood to make us feel all swallowed up in the story. It's an exellent movie. Intellegent, sensitive and it really makes you think about how to live your life.