Cornelis (2010) Reviews

• Somewhat confined focus at times, but the good aspects make up for it in the end

  SnorrSm19892010-12-20

  It could seem more or less inevitable that the life of Cornelis Vreeswijk at last made it into a dramatization on film, considering the impact which his huge talent and troubled lifestyle, combined together, has left upon popular culture in Scandinavia. That said, it is equally obvious that to transform the singer-songwriter onto the silver screen through the interpretation of an actor is a task which must be handled with sensitivity. Vreeswijk has become a phenomenon to a degree where it would be all too easy for an actor impersonating him to wind up doing an embarrassing half-parody. Just take a look at the TV-films made about Elvis Presley through the years, where most of the impersonators have concluded that, to grasp The King successfully, one must utter every word like he's yawning. Vreeswijk would hardly profit from treatment of that kind. No less is it pleasing to affirm that Hans-Erik Dyvik Husby (better known as Hank von Helvete) delivers a touching and convincing performance as CORNELIS. It is an experience close to magical seeing him perform the classics of Vreeswijk; at least it made me wipe the dust off my old Vreeswijk-records and play them over again, enjoying them more than I possibly ever had before. In his portrayal of Vreeswijk in private, he succeeds in conveying the complex nature of the man convincingly; both Vreeswijk's occasional tenderness and occasional dark moods are given focus and lead the story. And, in case you wondered, Husby speaks Swedish damn well, even though he's a Norwegian. If I have a problem with the portrayal of Vreeswijk, it has not to do with Husby but rather with that the actor is not given quite enough room to expand his interpretation as much as he seems capable of doing. I don't doubt that Vreeswijk's traumatic experience of being transmitted to a hospital by German occupants as a child in the Netherlands, due to a case of tuberculosis, may partly explain his often troubled lifestyle later on, but there must have been other things which helped shape this remarkable talent as well, both in good ways and bad ways, and the film doesn't really seem interested in exploring these "other things." The scene where young Cornelis is taken away by force is very powerful (in fact, it nearly made me cry), and the incident definitely played a major role in his life, but songs like "Veronica" and "Somliga går med trasiga skor" were obviously products of a mind loaded with other thoughts and experiences as well. A friend of mine commented that he'd have liked to see some of Vreeswijk's dedications and desires explored more thoroughly, other than women and drugs and alcohol, and I find myself agreeing with that statement. Other than the music, the film is essentially about the many scandals. However, the somewhat confined focus of CORNELIS does not diminish the impact of Husby's powerful performance, and the same goes for the often beautiful photography and amusing remarks attributed Vreeswijk himself. The film will very possibly make new generations more aware of the singer-songwriter and force them to realize the versatility of his talent, and for that reason alone CORNELIS is worthy of applaud.

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• Legend with a cause

  stensson2010-11-14

  He was only 50 when he died after living a true rock star life. Maybe not being aware of it. Cornelis Vreeswijk has now reached a legend status, which he had from time to time already during his career. But it surely was a career with downs. Hank von Helvete is a surprise in the title part, not overacting it a bit, which of course would have been tempting. We follow Cornelis through a passed-away Stockholm from the 60s, with buses and cars driving to the left. We follow his early success, his more or less disastrous marriages, his insecurity, his periods in jail and his tax problems. All things which made headlines. Sounds like another boring hard-life story, but this is so Swedish, that you can't help taking it a little to your heart. Like Cornelis, the man and legend.

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• Cornelis, something as rare as a good Biopic

  kristoferharald2010-10-29

  For many years this movie has bin planed, but not until now has anyone dared to make it. Mainly because Cornelis was in life, and still is in death a very loved musician, and in his own way character. I have grown up with his music, and has always loved it. Both my sisters are named after characters in his songs. Yesterday the movie had its Gala premiere in Trollhättan, with both the director Amir Chamdin, and the main star in the movie, Hans-Erik Dyvik Husby, present. Me and my girlfriend had both received invitations to attend, and it gave us chance to take one persons each with us, so we took my parents. Now to the movie... I was actually a bit scared at first, maybe they would destroy it, and Cornelis at the same time. but I must say... they didn't. The movie turned out fantastic. Hans-Erik Dyvik Husby made a fantastic part, specially when you think about that his from Norway, and had to learn Swedish first. In this movie you gets to follow Cornelis Vreeswijk from just before his brake in to the music business, to his tragic death almost 30 years later. Not much else to say about this without telling to much, just Go and see it if you can! Its a fantastic movie...

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• The dark side of folk music

  jahnmagn2010-12-05

  As a huge fan of Cornelis Vreeswijk I had great expectations for this movie. I have to say that I was really happy to see that my expectation were met. The music was brilliant (of course), the actors did a great job (more about this later) and the story was really good. The music were partly by his (CS) own voice and partly other musicians who payed their homage to Cornelis. Of course a fan like me loves his own songs, but as a fan It is really easy to hate when other tries to cover the music. This wasn't the case, I think that all the covers was really good. The director of the movie payed his homage to Vreeswijk songs too, not with music but with scenery (the song "Don Quixote"). The former vocalist in the rock band Turbonegro, Hans Erik Dyvik Husby made a really great interpretation of Vreeswijk's life. Husby's portrait of Vreeswij's addiction to alcohol and drugs and his problems trying to manage it did'not give the viewer the feeling that this was an interpretation of the dark sides of fame, but rather something that Husby himself personally was aware of. I give this one a 10/10 Although I personally would prefer the movie to be at least one hour longer...

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• Cornelis, half of his life portrayed.

  vincent_drachten2012-01-26

  Being a Dutchman with a great interest in Sweden, plus a fan of Cornelis Vreeswijk, I was really looking forward to this motion picture. Many of Cornelis' songs helped me to gradually learn the Swedish language. First off, I have to compliment the casting bureau that managed to find Hans-Erik Dyvik Husby. A Norwegian singer from a genre rather remote from the one Cornelis sang in. Yet he puts on a magnificent performance. The film follows the career steps of Vreeswijk in Sweden, from his breakthrough in 1964 alongside Fred Åkerström until his death in 1987. During the course of it, many of Cornelis' great songs can be heard. A sing-along for any fan. It also shows the two sides that Cornelis had in him. A great performer, fun guy to hang around with, a ladies man. But also a heavy drinker, an overly jealous husband and not the best of fathers to his son Jack. It presents you with a very honest picture of this troubadour that lived like a rock star. This pleads for the director and the script-writer. The only weakness of this film is that it focuses solely on Sweden. Vreeswijks Dutch heritage is almost completely neglected. The only way any viewer unfamiliar with him would guess he's Dutch is from his last name and the first 5 minutes of the film. The director does ironically point out the fact that the Swedish state never officially recognized Vreeswijk as a Swedish citizen, and therefore never even became a Swede. In fact Cornelis had a decent career here in The Netherlands as well, where quite a few people still know his Dutch repertoire. He also regularly traveled abroad to perform in The Netherlands. Obviously this part of his life poses a practical issue, with a Norwegian actor portraying him. Yet Amir Chamdin could have made at least a couple of references to the Netherlands. He chooses not to; perhaps for financial or practical reasons. Sadly it's this loose end that makes this an incomplete, yet nice film about the life of Cornelis Vreeswijk.

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