Wild Men (2021) Absurd Danish Comedy Drama with one plot too many (Cinema Review)

In cinemas tomorrow through Blue Finch Films is 2021’s Wild Men, the sophomore film from Thomas Daneskov – following his 2015 debut, the Elite. Rasmus Bjerg is Martin, and he’s had enough of modern life, so he decides to vanish from his native Denmark and live off the land as the Vikings did in neighbouring Norway’s beautiful countryside and mountains. The problem being he is not prepared for this new life. Elsewhere in this beautiful stretch of land is a car with three sketchy individuals (including Zaki Youssef as Musa) trying to skip the country and outrun the law – only they crash into a wandering elk. Killing the majestic animal and thinking his co-conspirators are dead too, Musa pulls himself from the wreckage taking his bag of money with him up a nearby hillside where he meets Martin – a meeting that instigates a crossing of multiple paths. Martin’s conflict with modern life and his wife, Musa’s friend’s hunting down their money, and a police effort to pursue the trio.

Compared, in the press material, to the Coen Brothers, Wild Men is a curious project. You could never accuse Daneskov & Morten Pape’s script of having nothing to say. It touches on the gentrification of Viking culture and the fleeting nature of life – on the latter, their script hits upon some poignant emotional beats with Bjørn Sundquist’s veteran police officer, Oyvind. On that matter, the climax features the most sedate shoot-out imaginable: only it is not of violent catharsis but contemplation and quiet consideration. A rather tasteful palette cleanser for other films of this stock.

Like many exported Danish comedies, it operates within a deadpan register. However, therein lies the challenge. Where does the line lie between deadpan comedy, and something else entirely? Unlike the Coen Brothers who negotiate that balance with ease, Daneskov isn’t quite as adept. Most of the comedy laughs at the conflict between Martin’s outfit and the modern world, most of which fall flat. As do the repeated visits to the well of his woeful skill with a bow and arrow. However, there are two scenes that manage that deadpan divide rather nicely. Martin has committed to Viking life even though he is beyond incompetent as a hunter, so, naturally, he is hungry. He finds his way to the local convenience store only he didn’t bring a wallet – why would he? He’s a Viking Now. From that, he has a fight with the shop manager. Upon the same theme is an authentic Viking experience where Martin is dumbstruck when they say he can pay with a wireless card transaction. Desperate, he tries to barter with his coat. The fallout sees the excellent Rune Temte have fun at the expense of his emphatic appearance as Uppa in Netflix’s The Last Kingdom.

While the script focuses on Martin’s ridiculous folly and Oyvind’s wistful reminiscing, there is much to recommend about Wild Men as an absurd drama about passing the torch from one generation to the next. However, that’s not all the film is – it also has a crime underpinning, which unfortunately exposes too much. Musa’s pursuers are absent for far too long, and whenever they reemerge, they function as a periodic reminder of the other plot dynamic – “oh, yeah, I forgot about those guys”. And when one of those desperate criminals has broken his jaw so badly that no one can understand a word he says to be forgettable, it can be seen as little else, other than a shortfall.

The ensemble is excellent, even if everyone outside of that central trio has little substance to their roles. Jonatan Rolf Mose’s cinematography is gorgeous. And it is, indeed, a compelling idea told by a talented director. However, it struggles to maintain a decent balance. By all means, Daneskov has a great cross-generational drama in him, much like he has a compelling downbeat crime piece in his yet to be repertoire – it’s just when these things join in a symbiosis, problems arise. Problems that ultimately make Wild Men more forgettable than it deserves to be.

Rob on Wild Men (2021)