Amundsen
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Amundsen

Amundsen instead of explaining the life and miracles of the Norwegian explorer Roald Amundsen in a linear way, this ‘biopic’ Amundsen prefers that his narrative material arises from a conversation between his brother and his future lover. This script strategy is supposed to also serve us to get to know these two characters in depth, which in turn reflect two dimensions of the protagonist’s psychology, namely: that of the selfish and competitive adventurer, relentless with his collaborators, alone pending of his chimerical enterprises, and that of the romantic and idealistic adventurer. He fails in the attempt, because the aforementioned comments at the foot of the page do not add much to his portrait, and they are not self-portrayed either. In theory, this structure, in the key of ‘flashbacks’, should also energize a plot that is pure encyclopedia, but what it does is interrupt it, dismember it, take away what little intensity it already has. Yes, Amundsen appears demystified, like a Lope de Aguirre looking for his particular El Dorado polar while sacrificing whatever it takes to conquer it by nailing his flag, but Espen Sandberg can’t help but look at him more as a hero than as a madman. However, one can see that the director of “Kontiki” knows how to deal with grandeur: from the beauty of the glaciers his camera draws hypnotic capacity but also threatens.