Director Erik Poppe presents a sophisticated and theme-oriented film that portrays love and desperation in a genuine fashion. In addition, Poppe succeeds in supplying a unique perspective of the nature of fate and divine influence. "Hawaii, Oslo" is a tale of a handful of people whose lives quickly become interconnected. The film follows Leon (Jan Gunnar Røise), a young patient in a mental institution, who is awaiting the arrival of Åsa (Evy Kasseth Røsten), a childhood friend. The two had agreed ten years earlier to meet on his 25th birthday and get married if both had remained single. Vidar (Trond Espen Seim), an orderly at the institution, is Leon's compassionate caregiver, whose tragic dreams foretell the future. Mikkel (Benjamin Lønne Røsler) and Magne (Ferdinand Falsen Hiis) are two young boys forced to look after themselves following the recent death of their father. Frode (Stig Henrik Hoff) and Milla (Silje Torp Færavaag) are proud new parents whose happiness turns to grief as they learn their newborn son has a rare heart defect. He only has a few days to live unless his parents can find enough money for a procedure in America. Bobbie-Pop (Petronella Barker), a fading singer, is introduced during her attempted suicide. Trygve (Aksel Hennie), Leon's brother, uses his twelve-hour leave from jail to celebrate Leon's birthday, a celebration that is also part of Trygve's prison escape plan. The paths of each character begin to cross as Vidar frantically searches for Leon following a dream that predicts Leon's sudden death.
The film is built upon multiple themes, but love and its convergence with desperation, create the foundation. Love is portrayed in multiple forms within the film. The love between Leon and Åsa, with youthful origins, is pure and resilient, withstanding years of separation. This love is a driving force for Leon throughout the film, sending him running to the bar, Hawaii, to meet Åsa. Mikkel's tough love for his brother Magne is evident in their interaction. Mikkel's snide remarks and quarrels with Magne are not uncommon for a brotherly relationship, even without the stress of recent loss and loneliness they are living with. Mikkel's anger is largely brought on by his fear of separation from his younger brother, displaying the underlying love between them. Frode's love for his newborn son is made clear in his desperation. Frode exhausts all means of acquiring funds for his son's procedure, including the sale of all his possessions. Trygve's love for Leon, though implicitly expressed, is undermined by Trygve's choice to ignore Leon's desire to reunite with Åsa, favoring their joint escape out of the country. Trygve's desire for, or even love of freedom is strong enough to prompt him to break the trust of those closest to him and commit an armed robbery out of desperation. Vidar's love for Leon strongly resembles that of a father. Evidence of Vidar's compassion is seen in the early scenes as he prepares Leon for bed, as well as Vidar's exchange outside of the bar, Hawaii. The reciprocal of this love is displayed most prominently in the film's final scene, adding greatly to the scene's emotional effect. Love and desperation are portrayed powerfully, yet realistically. Both Frode and Trygve's desperation is raw and unrestrained, which is accurate considering their situations. Love in the film is natural and unidealized, creating a more relevant and true to life image of love.
The authenticity of love and desperation is complemented by both a simplistic filming style and soundtrack. A number of scenes are shot without the use of a tripod, allowing for a more natural perspective of the scene. The soundtrack is simple and tasteful. The use of kaleidoscope scene transitions is quite clever, and highlights the interconnected nature of the characters in the story; the images in the kaleidoscope are unique, but part of the same system just as the characters are independent, but ultimately intertwined. Together, the filming techniques, transitions and soundtrack create a unique and favorable aesthetic.
The portrayal of the nature of fate and divine influence is also a unique aspect of "Hawaii, Oslo." Vidar's character is perhaps the most complex in the film. Poppe presents a number of visual and spoken clues as to the true role of Vidar. His ability to foresee events while dreaming is evidence towards divine influence. Vidar has knowledge of Mikkel and Magne's father's death, without any connection to the brothers. Leon refers to him as his "guardian angel" and the white feathers that appear with Vidar in the opening and closing scenes suggest Vidar is an angelic figure. The paper girl is also presented as a divine figure. Near the end of the film, Vidar addresses her saying, "You aren't who you say you are." She responds, "Neither are you." This exchange suggests that both the girl and Vidar serve similar roles. Vidar and the girl have a crucial role in the portrayal of the nature of fate. Every character severely lacks control of his or her fate, despite the effort he or she contributes. It is only when a divine figure intervenes that the individual's desired outcome is achieved. In Leon's case, Vidar keeps him from fleeing the bar after he initially meets Åsa. It is the paper girl's hug that finally allows Mikkel to accept Bobbie into his life. And it is Vidar who takes Leon's place as the victim in the accident. Poppe presents this idea of fate and divine influence without being overbearing.
"Hawaii, Oslo" provides a powerful and fresh film-going experience. The film successfully examines the nature of love, desperation, fate, and divine influence through a unique film aesthetic. Poppe depicts love and desperation in an unromanticized and life-like fashion. Fate and divine influence are examined, though subtly, leaving the final interpretation up to the audience.
The film is built upon multiple themes, but love and its convergence with desperation, create the foundation. Love is portrayed in multiple forms within the film. The love between Leon and Åsa, with youthful origins, is pure and resilient, withstanding years of separation. This love is a driving force for Leon throughout the film, sending him running to the bar, Hawaii, to meet Åsa. Mikkel's tough love for his brother Magne is evident in their interaction. Mikkel's snide remarks and quarrels with Magne are not uncommon for a brotherly relationship, even without the stress of recent loss and loneliness they are living with. Mikkel's anger is largely brought on by his fear of separation from his younger brother, displaying the underlying love between them. Frode's love for his newborn son is made clear in his desperation. Frode exhausts all means of acquiring funds for his son's procedure, including the sale of all his possessions. Trygve's love for Leon, though implicitly expressed, is undermined by Trygve's choice to ignore Leon's desire to reunite with Åsa, favoring their joint escape out of the country. Trygve's desire for, or even love of freedom is strong enough to prompt him to break the trust of those closest to him and commit an armed robbery out of desperation. Vidar's love for Leon strongly resembles that of a father. Evidence of Vidar's compassion is seen in the early scenes as he prepares Leon for bed, as well as Vidar's exchange outside of the bar, Hawaii. The reciprocal of this love is displayed most prominently in the film's final scene, adding greatly to the scene's emotional effect. Love and desperation are portrayed powerfully, yet realistically. Both Frode and Trygve's desperation is raw and unrestrained, which is accurate considering their situations. Love in the film is natural and unidealized, creating a more relevant and true to life image of love.
The authenticity of love and desperation is complemented by both a simplistic filming style and soundtrack. A number of scenes are shot without the use of a tripod, allowing for a more natural perspective of the scene. The soundtrack is simple and tasteful. The use of kaleidoscope scene transitions is quite clever, and highlights the interconnected nature of the characters in the story; the images in the kaleidoscope are unique, but part of the same system just as the characters are independent, but ultimately intertwined. Together, the filming techniques, transitions and soundtrack create a unique and favorable aesthetic.
The portrayal of the nature of fate and divine influence is also a unique aspect of "Hawaii, Oslo." Vidar's character is perhaps the most complex in the film. Poppe presents a number of visual and spoken clues as to the true role of Vidar. His ability to foresee events while dreaming is evidence towards divine influence. Vidar has knowledge of Mikkel and Magne's father's death, without any connection to the brothers. Leon refers to him as his "guardian angel" and the white feathers that appear with Vidar in the opening and closing scenes suggest Vidar is an angelic figure. The paper girl is also presented as a divine figure. Near the end of the film, Vidar addresses her saying, "You aren't who you say you are." She responds, "Neither are you." This exchange suggests that both the girl and Vidar serve similar roles. Vidar and the girl have a crucial role in the portrayal of the nature of fate. Every character severely lacks control of his or her fate, despite the effort he or she contributes. It is only when a divine figure intervenes that the individual's desired outcome is achieved. In Leon's case, Vidar keeps him from fleeing the bar after he initially meets Åsa. It is the paper girl's hug that finally allows Mikkel to accept Bobbie into his life. And it is Vidar who takes Leon's place as the victim in the accident. Poppe presents this idea of fate and divine influence without being overbearing.
"Hawaii, Oslo" provides a powerful and fresh film-going experience. The film successfully examines the nature of love, desperation, fate, and divine influence through a unique film aesthetic. Poppe depicts love and desperation in an unromanticized and life-like fashion. Fate and divine influence are examined, though subtly, leaving the final interpretation up to the audience.