Screenplay: Tobias Lindholm
Starring: Pilou Asbæk, Søren Malling, Abdihakin Asgar, Gary Skjoldmose Porter, Rolland Møller, Dar Salim
Year: 2012
Languages: Danish, Swedish, English, Somali, Arabic
UK rental release: August 2013
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One of the most talked about films of 2013 has been the Tom Hanks starring Captain Phillips. I haven't seen it yet but I am looking forward to it. "But, there must be a filmbore equivalent?!" I hear you say. Where there is, with A Hijacking.
Welcome to the MV Rosen. A cargo ship in mid voyage, with a skeletal crew of just seven men.
Mikkel (Pilou Asbæek, World's Apart, Borgen - TV series) is the ship's cook. He's a joyous man, who misses his family terribly but still has the energy to jest with the crew. Nevertheless, he has to stay away from home longer than originally expected, even when he's been out at sea as long as he already has.
Peter (Søren Malling, Accused, A Royal Affair) is CEO for the firm that owns the freighter. He is a firm and calculated man, with a heft of responsibilities and the talent to handle millions of dollars in business within mere minutes. Peter's resolve will be tested when he receives a disturbing message.
He employs the help of Connor Julian (newcomer Gary Skjoldmose Porter), an expert in matters such as this. Connor advises Peter in the best approach, bringing in another external person to act as a bridge between them and the raider. As CEO, however, Peter wants to take responsibility of the negotiations himself.
It's here that we meet Omar (newcomer Abdihakin Asgar). He is the Somalian negotiator and translator. He states complicitly that he is not one of the pirates but instead an impartial representative brought in especially for discussions with the company. Yet, he cuts an imposing figure and both Peter and Mikkel are unsure of his motives.
With seven men in the crew overall, our three main detainees, Mikkel, the captain and Jan (Roland Møller, R: Hit First, Hit Hardest), haven't seen the rest of the seamen since they were first taken captive. As each looming day brings more terror to their existence, and the smell of their execution draws nearer, it's clear that these negotiations could last months. Can they last that long?
You're in for a treat here. This superb Danish thriller by Tobias Lindholm, who wrote The Hunt with Thomas Vinterberg (see my review of this wonderful film here), was a bit of a sleeper hit. Unfair as this is, the film is starting to make some waves recently, partly due to Tom Hank's recent outing with the pirates.
One key difference between the two pieces is the source material. Captain Phillips is based directly on a true account, where A Hijacking takes its influence from numerous events of this ilk. Interestingly also, there is an alternative real life aspect to this picture regarding the two sites of the boat and the company's office block: the office based scenes in Copenhagen are shot at a firm called The Clipper Group, who are security specialists in real life boat hijackings, and the ship used in the film was a boat that was genuinely hijacked back in 2007!
With all of this juicy information though, it's clear to see where the realism of the piece comes in - through its production. There's plenty of natural light in use all over the film, and with lots of handheld work it feels, overall, very interactive and personal. In hi-definition, you'll notice a nice grain coated over the piece, enriching the already organic look.
Other key decisions in the production are intriguing. For example, Somalian and Arabic dialogue isn't subtitled, leaving us clueless to what the tale's oppressors are saying most of the time. This choice functions as a smart approach however, as through demonstrating some of the difficulties felt by the crew this method helps to encapsulate the isolation felt.
Interestingly, we don't even see the initial invasion. Instead, we are plummeted straight into the middle of the pirates raid; they've already boarded the ship and begin cyphering off important individuals. What may have been a decision regarding budgetary issues actually turns out to be quite effective. Raw tension is instant, drawing you in before you have a chance to read the situation fully. It's a gamble that pans out, creating core stress points early in the plot thread.
We do see moments of brief happiness seep through this unease. As the crew begin to befriend the pirates, they experience morsels of fruition, only to be dragged back through the rigmaroles of terror as the tale flips in an instant. It's a trademark technique for thrillers, accentuated throughout this film thanks to its realistic and gutsy approach.
All of these methods infuse with the spine of the film; of the psychological battles simmering through the long drawn out negotiation proceedings. As power switches over and over, we're never really sure who's leading the hostage situation. Is Omar really the pirate's captain? Or is he really just the impartial negotiator that he claims to be? He's a cryptic individual, handled beautifully by newcomer Abdihakin Asgar. He imbues this elusive man with an air of both grandeur and despotic reverence; an arresting performance from such an inexperienced actor.
Søren Malling is strong also. He stands impervious for most of the picture, breaking into more dynamic responses when his deeper feelings manifest themselves. His character has to remain impersonal, yet this conflicts with his consideration for the crew and morals as a business head. Malling delivers a smoothly appreciative portrayal for this interesting man, leaving an inexpungible mark on the picture, even with the simplicity of a twitch in his cheeks when containing a pending retort or the fiery stare as he realises the gravity of a situation.
His character of Mikkel becomes the main communicator between the crew and the pirates, with such plot device permitting him to perform in a number of different scenarios. It's a dream role for any actor, to be gifted with a spectrum of opportunities, which isn't wasted by Asbæk as he emotionally bounces through each scene with sensational magnetism, through his blend of gentle and explosive micro performances.
It's a delicate execution which, through being absorbed by this overall outstanding piece, you may only truly appreciate in its aftermath. Such is the impact A Hijacking has. Beautifully shot. Beautifully executed. Ingeniously subtle when required. One of Denmark's hidden gems!
A regular obstacle in Hollywood, you always seem to have two similar films in competition with each other. This time around, the movie machine left their US equivalent to its own devices. This allowed the European representative of this specific sub-genre flourish in the wake of its original release. This has meant that it is starting to find the recognition it truly deserves. It's very approachable for any film goer and a wonderful example of when smartly executed simplicity in film making nurtures complicated responses in your own view of the piece. I can't say which of the two films you should choose from, if this is a dilemma you face, as I am yet to see the Tom Hank's vehicle, but I can recommend A Hijacking purely on its own merit and its ability to move you.
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