This comedic story centers on the lives of two middle-age men, Elling, played by Per Christian Ellefsen and Kjell Bjarne, played by Sven Nordin, who have recently been released from a state institution after two years and are being placed back into society in Oslo, Norway. Elling has previously led an extremely sheltered life for 40 years in an apartment with his mother up until her death. Dizziness and anxiety are his two main enemies while engaging with the larger society and he initially struggles with everyday tasks such as answering the telephone and buying groceries at the supermarket. His roommate, Kjell, on the other hand, is a rather large and more out-going fellow who is woman deprived and sex-obsessed. While Kjell initially takes the lead engaging with society, Elling soon musters up his confidence and joins him with the help of their newfound friends: Frank (Jørgen Langhelle), their social worker, Reidun (Marit Pia Jacobsen), their pregnant upstairs neighbor whom Kjell takes a fancy to, and Alfons (Per Christensen), a famous poet whom Elling befriends. The duo discovers that not only can they take on the everyday challenges in society; they can master them! Director Petter Naess, whose other notable works include Absolute Hangover (1999), Only Bea (2004), and Mozart and the Whale (2005), derives his film direction from a theater background. One primary theatrical influence present in Elling (2001) is the use of "extended scenes," which is made possible by Naess extensively rehearsing with his actors. As a director, Naess is known for highlighting themes of mental illness and relationships, both of which are heavily present in the film. "Elling" received international success and praise, resulting in an Academy Award nomination.
The principal theme in the film is the formulation of relationships, resulting in an unconventional family unit first between Elling and Kjell, with the eventual addition of Reidun and Alfons. "Elling" highlights the growing national trend in Norway of the diffusion of new family formation patterns. The primary relationship is between Elling and Kjell who are first brought together as roommates at the state institution. They rely on their daily interactions and routine and become baffled at the obstacles ahead of them as they leave the institution together. The first major sign in Oslo of their undeniable dependence on one another, as well as their strong dislike of change, comes when they are shown their individual bedrooms within the apartment by Frank. Upon Frank's departure they immediately move their beds together into one room and place them in the exact same setup they had while living in the institution. A second relationship in the film develops between Kjell and Reidun, much to the immediate dismay of Elling. When Kjell starts spending more time in Reidun's apartment, Elling acts out in defiance as he feels that his close friend is moving on without him. Not wanting to be alone, Elling seeks companionship elsewhere in the poetry world, leading to his friendship with Alfons. Eventually, all four spend a weekend at Alfons's cabin, cementing their separate and combined relationships as an unconventional family unit.
The second theme in the film deals with societal independence and the overcoming of social uneasiness and anxiety it brings for Elling and Kjell. Part of their deal with Frank is that they must interact with society, which includes my favorite scene of Elling learning to answer the telephone. The two of them have to learn to break out of their "outsider" image and feel a part of society. This is done through the discovering of hobbies. For Kjell, his confidence shines as an auto mechanic, as he works to repair Alfons's vintage car. Elling gains confidence through his revelation as a poet, which leads him to go to a "poet's meeting" and later spread his poetry anonymously as the mysterious Poet E.
Poetry for Elling is a way for him to explore and eventually express the self, which becomes the third main theme of the film. Both lead characters struggle to release their emotions. When Kjell gets frustrated, usually because he can't talk to women, he bangs his head against the wall whereas Elling yells at others and at one point shakes Kjell's toolbox and has to be carried back to bed like a child in order to calm down. Their gradual gain of self-expression is primarily conveyed through cinematic techniques such as the comedic script, playful background music often in the form of carnival music, and "straight on" camera shots which lend to the portrayal of honesty of the two leads.
"Elling" draws attention to the formulation of friendships and makeshift families among strangers, societal independence and with that overcoming social uneasiness and anxiety, and the exploration of self-expression. These themes, along with Naess's simple yet efficient directing style, shed a much-needed light on the lives of institutional residents and their shift into society. The script lacks mention of clinical jargon, allowing the viewer to avoid immediate stereotyping and instead relate and sympathize with Elling and Kjell. In the end, "Elling" wins the hearts of its viewers by allowing its audience the opportunity to laugh with the characters and enjoy the breadth of humanity.
The principal theme in the film is the formulation of relationships, resulting in an unconventional family unit first between Elling and Kjell, with the eventual addition of Reidun and Alfons. "Elling" highlights the growing national trend in Norway of the diffusion of new family formation patterns. The primary relationship is between Elling and Kjell who are first brought together as roommates at the state institution. They rely on their daily interactions and routine and become baffled at the obstacles ahead of them as they leave the institution together. The first major sign in Oslo of their undeniable dependence on one another, as well as their strong dislike of change, comes when they are shown their individual bedrooms within the apartment by Frank. Upon Frank's departure they immediately move their beds together into one room and place them in the exact same setup they had while living in the institution. A second relationship in the film develops between Kjell and Reidun, much to the immediate dismay of Elling. When Kjell starts spending more time in Reidun's apartment, Elling acts out in defiance as he feels that his close friend is moving on without him. Not wanting to be alone, Elling seeks companionship elsewhere in the poetry world, leading to his friendship with Alfons. Eventually, all four spend a weekend at Alfons's cabin, cementing their separate and combined relationships as an unconventional family unit.
The second theme in the film deals with societal independence and the overcoming of social uneasiness and anxiety it brings for Elling and Kjell. Part of their deal with Frank is that they must interact with society, which includes my favorite scene of Elling learning to answer the telephone. The two of them have to learn to break out of their "outsider" image and feel a part of society. This is done through the discovering of hobbies. For Kjell, his confidence shines as an auto mechanic, as he works to repair Alfons's vintage car. Elling gains confidence through his revelation as a poet, which leads him to go to a "poet's meeting" and later spread his poetry anonymously as the mysterious Poet E.
Poetry for Elling is a way for him to explore and eventually express the self, which becomes the third main theme of the film. Both lead characters struggle to release their emotions. When Kjell gets frustrated, usually because he can't talk to women, he bangs his head against the wall whereas Elling yells at others and at one point shakes Kjell's toolbox and has to be carried back to bed like a child in order to calm down. Their gradual gain of self-expression is primarily conveyed through cinematic techniques such as the comedic script, playful background music often in the form of carnival music, and "straight on" camera shots which lend to the portrayal of honesty of the two leads.
"Elling" draws attention to the formulation of friendships and makeshift families among strangers, societal independence and with that overcoming social uneasiness and anxiety, and the exploration of self-expression. These themes, along with Naess's simple yet efficient directing style, shed a much-needed light on the lives of institutional residents and their shift into society. The script lacks mention of clinical jargon, allowing the viewer to avoid immediate stereotyping and instead relate and sympathize with Elling and Kjell. In the end, "Elling" wins the hearts of its viewers by allowing its audience the opportunity to laugh with the characters and enjoy the breadth of humanity.