Robbery in Stockholm, Robert Budreau | Review


Published on Jun 25, 2019


Could it be a film distribution by late June, the sultry Robbery in Stockholm, the new work of the expert canadian director Robert Budreau, who makes cinema in practice since 2002, but which no one has ever heard until at least 2015, with the output in various circuits from the independent film festival of " Born To Be Blue, always with Ethan Hawkes: and always with Ethan Hawkes comes what so far is considered to be the peak of his career (six nominations and two wins at the Canadian Screen Awards, including best director, best screenplay), Robbery in Stockholm, in fact, a film that finds its greatest merit in not take himself seriously despite apparently traits of a subject that should be serious.

True story, taken from an article published in the New Yorker, that mixes an incredible true story of the origin of the famous disease known as “Stockholm Syndrome”: it is settled it is easy to see in the Swedish capital, the film tells the story of the robbery of the central bank of the city in 1973, involved the Lars Nystrom (Ethan Hawke), a criminal who took hostage some employees to release his friend Gunnar (Mark Strong), who is serving a sentence in prison.

Everything goes on for days, the robbery becomes a kind of imprisonment, and as this prison goes on the hostages begin to develop a complex relationship with their sequestratore in particular, White (Noomi Rapace), a wife and mother of two children, starts to stick to Lars, who seems to have at heart the conditions and needs of its prisoners, most of the police stationed beyond the walls of the building.

As said is in the simplicity – at the risk of falling into the trivial – that Robbery in Stockholm finds its raison d'être, explains/romance in an incredibly simplistic, a “concept” that is incredibly complex of psychological dependence as that of the Stockholm Syndrome, the way it's written and directed this movie appears to be really convinced that things have gone exactly this way, that you are carried out with this childishness, childishness, which, however, is almost a naivety, and he is so convinced to be convincing; probably this tone-like comedy was really the only bearable to the cinema for an “adaptation” of this story, which also works thanks to the skill/goodness of the great actor is Ethan Hawke.

The manichaean vision of Budreau reduces everything to schematics from film pre-adolescent, the bad guys act bad, and the good do good always, even when you rob the banks, and at that point it is physiological that the hostages end with the realize that in reality you have to cheer for the ones with the guns. Needless to troubling the film from the subject like that because Robbery in Stockholm, the comparison is not even looking for him, if he is in a universe all its own that is not affected by the noise and complexity that burden on our own, and in this his universe, innocence is entirely plausible that the eccentric and a bit dim-witted to fall in love with White, that, instead, he sees everything that is missing at her husband's inept.

Because we are in a universe in which the Stockholm Syndrome is a matter of the heart, and for the psychology, there is no margin for manoeuvre.

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