I caught Pioneer, an oil rush thriller set in the early eighties, at the London Film Festival. It was featured as part of 'Thrill' and promised to keep me "on the edge of my seat". The backers, Friland Produksjon, are also responsible for the critically acclaimed Headhunters adapted from Jo Nesbø's novel of the same name and Erik Skjoldbjærg directed the original Insomnia in 1997. What's more, one of Scandinavia's foremost actors and the star of Headhunters, Aksel Hennie, plays Petter, a professional deep-sea diver on a dangerous quest 500 meters down the North Sea. Air composed the soundtrack, Wes Bentley plays a shady character, Norway has glorious scenery and someone dies. 106 minutes would fly by.
Pioneer is that rare hybrid: an old school contemporary Norwegian film. The action takes place more than 30 years ago and the cinematography revisits the look and feel of classic late seventies thrillers to depict tensions between oil companies and state government. Here however, an over-reliance on grainy footage, amber and blue filters dims what could have been a series of eerie underwater voyages, as well as unfortunately, any real suspense. Instead it gives the audience a sensation akin to the claustrophobia of Das Boot without the sense of dread that pervaded it. Pioneer's omnipresent soundtrack creates an even greater disconnect where Das Boot had us trapped with a sombre Jürgen Prochnow inside a silent submarine during World War II.
The premise is excellent. It centers on the discovery of large resources of oil and gas at the bottom of the frozen North Sea. We are at the very beginning of the Norwegian Oil Boom which resulted in Norway's prosperity and high standard of living. Petter and Knut (André Eriksen) are brothers and colleagues involved in government-funded petroleum explorations and highly dangerous diving tests conducted in the great depths of the North Sea to establish whether pipelines can be installed. Just as we get to know the main characters, tragedy strikes. A compelling actor in whose performance there was barely enough time to get invested is gone too soon.
Pioneer is a well-intended production which had to make difficult stylistic choices to stretch a Scandinavian budget over expensive action scenes. It tries to be too many things at once and falls short of carrying significance beyond what is seen. Wes Bentley, so good in American Beauty, is confined to a redundant secondary role devoid of genuine purpose. He walks around looking sinister and utters a few English words here and there. Ironically, the dialog lacks depth. Clichés, particularly in the depiction of gender relations, often stand for character development. Obvious symbolism such as bodies of water representing femininity and a full moon to signal rebirth do not challenge the audience much.
Erik Skjoldbjærg said he was "heavily influenced by The Conversation, Chinatown and All The President's Men" in his desire to revive the seventies conspiracy thriller. I wish he had also named the older 2001: A Space Odyssey by Stanley Kubrick and exploited more of the dramatic Norwegian coast to better contrast deep sea-diving drama with conflicting human interests above ground.
My verdict? Watch Insomnia on DVD and wait for Gravity.
Pioneer is that rare hybrid: an old school contemporary Norwegian film. The action takes place more than 30 years ago and the cinematography revisits the look and feel of classic late seventies thrillers to depict tensions between oil companies and state government. Here however, an over-reliance on grainy footage, amber and blue filters dims what could have been a series of eerie underwater voyages, as well as unfortunately, any real suspense. Instead it gives the audience a sensation akin to the claustrophobia of Das Boot without the sense of dread that pervaded it. Pioneer's omnipresent soundtrack creates an even greater disconnect where Das Boot had us trapped with a sombre Jürgen Prochnow inside a silent submarine during World War II.
The premise is excellent. It centers on the discovery of large resources of oil and gas at the bottom of the frozen North Sea. We are at the very beginning of the Norwegian Oil Boom which resulted in Norway's prosperity and high standard of living. Petter and Knut (André Eriksen) are brothers and colleagues involved in government-funded petroleum explorations and highly dangerous diving tests conducted in the great depths of the North Sea to establish whether pipelines can be installed. Just as we get to know the main characters, tragedy strikes. A compelling actor in whose performance there was barely enough time to get invested is gone too soon.
Pioneer is a well-intended production which had to make difficult stylistic choices to stretch a Scandinavian budget over expensive action scenes. It tries to be too many things at once and falls short of carrying significance beyond what is seen. Wes Bentley, so good in American Beauty, is confined to a redundant secondary role devoid of genuine purpose. He walks around looking sinister and utters a few English words here and there. Ironically, the dialog lacks depth. Clichés, particularly in the depiction of gender relations, often stand for character development. Obvious symbolism such as bodies of water representing femininity and a full moon to signal rebirth do not challenge the audience much.
Erik Skjoldbjærg said he was "heavily influenced by The Conversation, Chinatown and All The President's Men" in his desire to revive the seventies conspiracy thriller. I wish he had also named the older 2001: A Space Odyssey by Stanley Kubrick and exploited more of the dramatic Norwegian coast to better contrast deep sea-diving drama with conflicting human interests above ground.
My verdict? Watch Insomnia on DVD and wait for Gravity.