lizardjims ''The Last Sentence'' (original title in Swedish- ''Dom över död man'') is the story of Torgny Segerstedt, a Swedish journalist whose fierce anti-nazi articles became a matter of great concern within the country's political life and stirred major backlash both in Germany and Sweden. The movie begins with Adolph Hitler's rise to absolute power in Germany in mid-1930s and follows the growing aggressiveness and hate-speech of the Third Reich until the ending of the Second World War, examining the influence and effect that the threat of a possible German invasion had on the decision-making of Sweden's government. The film focuses on the much-debated neutrality of Sweden and Segerstedt's bold critique on the inactivity of Swedish politicians even when Nazis invaded the neighboring Scandinavian countries. The basic flaw of ''The Last Sentence'' is that it follows an uneven rhythm and as a result, the movie can be divided into two parts, the first being tedious, almost annoying, while the second picks up speed and leads to an emotionally touching climax. The director, Jan Troell, is one of Sweden's greatest auteurs and each one of his films is characterized by its high-quality standards as well as magnificent performances. In this one, I think that Jesper Christensen's performance deserves to be in the spotlight but the whole of the cast does a tremendous job as well. My rating would be closer to 3,5/5.

justbusinessthebook Borrowed from a library, this movie was first watched by a friend. Because I had picked the movie because of its theme, I was, hence, tentative. The friend found the movie long and made too complicated with its English subtitles and 'ghosts'. However, this is a friend who cannot sit and watch a movie... has to get up and 'do other things' in 'the boring sections'. Does not work with subtitles.So, I began to watch it with some apprehension. Which swiftly disappeared. Perhaps because I am an activist/dissident in Canada (and I use such movies to ask myself and others, what makes us so naive about our failed democracies when we have stories like this in our history?), it was the subtitles of the dialogue that struck so true. And, being male, (my friend is female) I could relate with the man's inner turmoil. Making the ghosts of three important women in the main character's life becomes an effective tool for exposing this man's conscience. It is also good to follow up the movie with the extras provided with the DVD.This is a movie I would buy for my collection of 'movies for reflection' on human behaviour that becomes sad ignorance of situations like this... where governments push down the truth. Sweden might use the excuse that they had to do what they had to do to suppress this man and his defence of freedom of speech. This movie simply emphasizes that we have no excuse.

Sindre Kaspersen Swedish cinematographer, screenwriter and director Jan Troell's thirteenth feature film which he co-wrote with Danish screenwriter Klaus Rifbjerg, is based on a biography about Swedish publicist Torgny Segerstedt from 2007 which was written by Swedish writer, actor and director Kenne Fant. It premiered at the 23rd Stockholm International Film Festival in 2012, was shot on location in Luleå, Gothenburg and Stockholm in Sweden and is a Sweden-Norway co-production which was produced by Swedish producer Francy Suntinger. It tells the story about Torgny Segerstedt, an editor-in-chief of a daily newspaper called Göteborgs Handels- och Sjöfartstidning who lives in Gothenburg with his wife Puste, their daughter Ingrid and his three dogs. Torgny is a strong opposer of the reigning regime in Germany which is questioned by many and he often attends upper-class parties with Puste who mostly stays in the background and observes him and his lover Maja Forssman.Precisely and brilliantly directed by Swedish filmmaker Jan Troell, this finely tuned biographical story which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a mindful portrayal of a Swedish theologian in his late fifty's and his relationship with his Norwegian wife, a married Jewish woman and his somewhat lonely battle against the German national socialism. While notable for its naturalistic and distinct milieu depictions, distinct black-and-white cinematography by Jan Troell and Swedish cinematographer Mischa Gavrjusjov, production design by Swedish production designers Pernilla Olsson and Peter Bävman, fine costume design by Swedish costume designer Katja Watkins, editing by Jan Troell and film editor Ulrika Rang and use of sound, this character-driven and historic drama depicts a nuanced and involving study of character and contains a great score by Norwegian composer Gaute Storaas.This tangible, romantic, political and conversational tale about a truly dedicated anti-Nazi who some thought would jeopardize the national security of Sweden due to his outspoken publications about Nazism and possibly drag his country into the war, is set in West Sweden before and during the Second World War in the 1930s and early 1940s and is impelled and reinforced by its cogent narrative structure, substantial character development, quick-witted dialog and the remarkable acting performances by Danish actor Jesper Christensen, Swedish actress and director Pernilla August, Swedish actress Ulla Skoog and Swedish actor Björn Granath. A reverent, enigmatic and atmospheric narrative feature which gained, among other awards, the award for Best Director Jan Troell at the 36th Montreal World Film Festival in 2012.

maurice yacowar Two kinds of evil are analyzed in Jan Troell's The Last Sentence.The first depicts Swedish journalist Torgny Segerstedt's (Jesper Christensen) crusade against Hitler. As editor of an economic daily he campaigned against Hitler and for Sweden's going to war against Nazi Germany. Segerstedt contends that acquiescence to evil only nourishes it. We are responsible for what we allow, not just what we do. Despite the Swedish king's probably correct judgement that Germany and Russia would destroy the Swedish army in a fortnight, Segerstedt sticks to his campaign. His move from Scandinavian concern to the wider European is evidenced when his new bulldog Winston succeeds the poisoned Soren (a Kierke-guard dog?). As we know, Hitler's early sweep was facilitated by the surrender and compromises of state heads who lacked Segerstedt's courage and clarity. In this respect the film reflects upon the current debate over how to deal with the rise of jihadist-based anti- Semitism, in which the Scandinavian countries are very much in the vanguard. How "neutral" was Sweden in WW II and what was its effect? What cost neutrality or acquiescence now?The second moves from the political evil which Segerstedt addresses to the personal evil which he embodies. This fiery journalist is a surprisingly unimpressive man, an academic still obsessed with having failed his thesis (on the origin of polytheism), who has been essentially made by the women to whose spectres he turns after their deaths -- his mother, his wife, his wealthy Jewish intellectual mistress. Despite his open adultery he seems so insecure in his manhood that he keeps two huge mastiffs and the massive bulldog. www.yacowar.blogspot.com