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Nöjesguiden:
Only one and a half years ago, when Lisa Ohlin read Klas Östergren's novel
Waiting for the Tenor, she thought she had found
a script worth her entry into the feature-film industry.
And the expectations in the various corners of the
industry were, of course, high. Very high...It's hard to put your
finger on why this is not a fantastic
movie. It's a good and interesting movie, no doubt about
it, but not the triumphant thing that it should be
superficially: the fundamental conflict between Thomas
and Hoffman is interesting and enticing, Anders Bohman's
contrasting photo is very suggestive, the spectacle goes
from adequate to brilliant and the chronologically
broken drama eats at our senses. But there's something
that's missing. It's amazing that a movie that has so
many strong feelings can sometimes feel
so distorted. One possible answer lies in the fact that
Ohlin has not gone far beyond Östergren's well-written
but still tightly-held novel. The whole layout feels a
little bit literary, a little too good, a bit academic. |
