Ondskan

La seule chose qui fait trébucher ce film, c'est son placement flou dans le temps où il se déroule. Afin d'éviter qu'il ne paraisse irréel et exagéré par rapport à notre époque, il est accompagné d'une musique aux tonalités herrmanniennes et est situé dans une période approximativement post-guerre. Cependant, les costumes, les coiffures et les comportements de nombreux personnages, ainsi que la forme technique de sa réalisation, correspondent à la réalité actuelle afin de captiver également le spectateur contemporain (sensible), pour qui ce film pourrait devenir le film de sa vie... Mais lorsque nous mettons de côté cette déchirure temporelle, Ondskan devient une émotionnellement puissante, parfaitement tournée (superbe caméra), interprétée et véritable drame, qui ne cède en rien sur le plan formel aux meilleurs films hollywoodiens. (12/02/2009)

I have to say that I expected something a bit more emotional. Klass, a film that deals with a similar topic, was a lot more interesting because the situation in Czech grammar schools is more similar in it than in the boy’s boarding school in Evil, i.e. I could relate better (and to be honest, I don’t believe something like this can happen in civilised Europe). Of course, it did arouse some emotions too, but compared to Klass, the enjoyment is barely half. (26/11/2008)

If Harry Potter weren’t a fantasy, this could be its perfect “bully" adaptation. I felt each one of those blows physically, which I think is a first for a movie. And if Andreas Wilson wasn’t just acting himself, then he is the most talented actor I know right now. Personally, I would have ended it with the fadeout as the door closes behind him and his step-father. What follows it just SO terribly unnecessary... (13/04/2009)

This Swedish gem easily ranks among my top ten favorite (most precious) films. I can't describe it, nor can I pinpoint exactly what makes Evil so special and brilliant for me in perhaps every respect. Part of it may be that, although it is not only a powerful but also a rather cruel drama, I didn't feel "manipulated" and pitifully begged for sympathy for the main character throughout the entire film. In short, the entire film is conceived as one very harsh human fate (a punishment all too disproportionate to the initial transgression) that the vast majority would buckle under, which is (un)fortunately not the case for Erik Ponti. The overall attitude or character of the protagonist – especially his "proud defiance" – struck me as almost "Promethean" at times, and I wouldn't be afraid to compare his unshakable endurance and resistance to higher "authorities" and arbitrariness to ancient heroism. However, the character of Erik goes even further in his struggle than the ancient heroes and is thus much closer to the Prometheus of the 19th century, who (unlike the ancient myth) in P.B. Shelley's did not submit to malice and proudly resists it to the end. I hope I didn't get too carried away by that literary interlude. ;) (04/04/2011)