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the seagull's laughter (mavahlatur) 2001 region free dvd5 icelandic bcbc

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 							The Seagull's Laughter (Mávahlátur) is a 2001 Icelandic film directed by Ágúst
Guðmundsson. The film is a close adaptation of the book and was Iceland's submission to the 74th Academy Awards for
the Academy Award for Best Foreign Language Film, but was not accepted as a nominee. It stars Ugla Egilsdóttir as
Agga, an orphaned pre-teen distrusting of her cousin Freyja, played by Margrét Vilhjálmsdóttir, who turns heads
on her return from America, no longer the chubby teen that the Icelandic townspeople remember.
 Spoken language
is Icelandic and Danish.
 (Contains movie and Optional English
Subtitles. No menus or extras. Regular DVD quality (Not BD, 1080p etc...). Feedback and Seeding always
appreciated).
 
 
 
 Plot
Summary
 Post-war provincial Iceland: around 1950, Freyja, who'd been a plump teen, returns from America, a
widow with a 20-inch waist, seven suitcases of dresses, and a list of who ever wronged or slighted her. She moves in
with an aunt and socialist uncle: finding a new husband is high on her agenda, and she's mistrusted by Agga, a pre-teen
who's our eyes and ears. The social order and Freyja are more complicated than they seem at first, and so may be her
prospects. Class divisions, families ties, pride, the onset of puberty, and the power of Eros sliver the ice.
 
 Cast
 Margret Vilhjalmsdottir, Ugla Egilsdottir, Heino Ferch, Hilmir Snaer Guonason, Kristbjörg Kjeld,
Edda Bjorg Eyjolfsdottir, Guolaug Olafsdottir, Eyvindur Erlendsson, Benedikt Erlingsson, Jonina Olafsdottir, Halldóra
Geirharðsdóttir 
 
 The Seagull's Laughter
 Roger Ebert 
 May 7, 2004
 The most
beautiful woman in the Icelandic village of Hafnarfjordur ran off to New York with an American serviceman, or so it is
said, and now returns to her hometown without her husband but with seven trunks of sexy dresses. Is she a widow, as she
claims, or did she never marry the serviceman, or did he come to a bad end? Frayja is the kind of woman who inspires
such speculation, especially in the inflamed imagination of her 11-year-old cousin Agga, who adores and hates her,
sometimes at the same time.
 
 "The Seagull's Laughter," an uncommonly engaging comedy with ripe tragic
undertones, begins with the fact that everybody in town lives in everybody else's pockets. There are few secrets.
Certainly Frayja (Margret Vilhjalmsdottir) is a sex bomb in search of a husband, and there are only two eligible men in
the village: an engineer who lives with his mother and is engaged to the mayor's daughter, and a young policeman. The
engineer has the better job and house, and so the mayor's daughter must go.
 
 All of this is seen through the
eyes of Agga, played by Ugla Egilsdottir with such spirit and deviousness that when I was on the jury at the 2002
Karlovy Vary Festival in the Czech Republic, we gave her the best actress award. She is on the trembling edge of
adolescence, and her ambiguous feelings about sexuality cause her to worship the older woman while at the same time
trying to frame her with arson, murder and other crimes, during regular visits to the young cop. He dismisses her
breathless eyewitness reports as the fantasies of an overwrought would-be Nancy Drew, but the movie suggests some of her
reports -- especially involving the mysterious fire that kills the wife-beating husband of Frayja's best friend -- may
contain bits of truth.
 
 Frayja has essentially returned from America with no prospects at all. She takes a
job in the chemist's shop, and finds popularity with the local drunks by selling them rubbing alcohol. She has moved
into her grandfather's house, displacing the resentful Agga from her bed, and joins a matriarchy. The grandfather is
almost always away at sea, and his house is ruled by his wife, Agga's grandmother, who also provides a home for her
daughters Dodo and Ninna, and her pipe-smoking sister in law Kidda. Death is a fact in this home; Kidda's husband has
died, and so have young Agga's parents. (When the police arrive at the door and ask to speak with her mother, she calmly
tells them, "That will be difficult. She's dead.") The women are supportive of Frayja and delighted by all of her
dresses; they hold a spontaneous dress-up parade, and end by admiringly measuring her waist, bustline and long hair.
 
 Frayja captures the eye of the engineer, Bjorn Theodor (Heino Ferch), at a village dance, spirits him away,
and doesn't return, Agga breathlessly tattles to the policeman, until 5 a.m. ("Five thirteen," he corrects her). Frayja
tells Agga how they spent the night, leaving out the detail of their lovemaking but speaking of the softness of the long
summer night, the look of the sea, and the stroll they took on the path through the ... well, through the fish-drying
racks.
 
 The racks come up later, after winter sets in and Frayja begins to take long, despairing walks in
the snow. She hates Iceland, she cries out: The cold and the snow and the seagulls laughing at her, and the smell of
fish ... but home is where, when you have to go there, they have to take you in.
 
 The understory involves
Agga's gradual transition into womanhood. Watching Frayja, sometimes spying on her, she gets insights into the adult
world and translates them into breathless bulletins for the young cop. She plays both sides of the street, at one point
forging a letter to keep Frayja and the engineer in contact. And she learns hard lessons when Frayja's best friend is
mistreated by her husband and threatens suicide, and Frayja calms her in an extraordinary scene by getting on her hands
and knees, letting down her long hair, creeping to the friend, and calming her with its smell. This seems to refer to a
childhood memory, and has an unexpected emotional impact.
 
 The movie balances between dark and light,
between warmth and cold, like an Icelandic year. It's scored with Glenn Miller and other swing bands from the war era,
and opens and closes with the 1950s hit "Sh-boom." The message I think is that tragedy is temporary and the dance of
life goes on. Soon it will be Agga's turn to choose a partner.
 
  						

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