Tom Jolliffe goes through Mads Mikkelsen’s career full of enchanting performances…
Denmark is famous for many things. Two of them are my personal favorites … Bacon and Mads Mikkelsen. Before we start the bacon war with the Canadian readers here, or indeed my British colleagues, I mock. Well, not completely. Mads Mikkelsen is really an ace in the deck. For most of the native English-speaking audiences, Mikkelsen knows mainly about two significant parts. For anyone who has seen him beyond that and indeed in his home-grown films, he is also known for a number of exceptional works that are often anchored by his particularly magnificent work.
It was Casino Royale it gave me the first introduction to Mikkelsen. The film itself dominated the franchise danger as it tirelessly tried to follow the taste of the month’s trends. The casino felt fresh and refreshing. Daniel Craig had a favorable debut as Bond, full of nonsense and stoic power he never responded to. Still, among the great set songs (the opening yacht is still one of the great setups of the 21st century) and the great combination of traditions / revolution, one thing stood out to me among all. Mikkelsen. First, it marked intelligent translations in giving us a powerful, dangerous, and intellectual enemy to Bond, but it also added complexity and a bold turn. Le Chiffre was not an atypical Bond baddie. He was a bad gambler. He was an assistant. The middle man. Although he had an unscrupulous element, he lived on the edge, forever a bad hand of cards, away from the inviolability of a higher criminal (Specter). He carried himself more, but he was middle-aged. Oddjob probably had a better position in the underworld. Still, he is deadly. He’s an intrigue and he’s a Bond villain, which is definitely a top notch that few choose (like the extremely intense Robert Shaw).
Actor Mikkelsen bought to think about, in fact, its ability to be cold but enigmatic, charismatic, but passionately powerful, Rutger Hauer. Hauer has always been one of my favorite actors, and Mikkelsen has a similar quality. That’s partly the line of the Euro riddle, especially since Denmark isn’t completely different from Western Europe’s closest neighbors in Germany and the Netherlands. There are cultural crossroads, and the relationship between cinematic aesthetics and style between Nordic cinema and German and Dutch is not too different. Mikkelsen, like Hauer, like Stella’s Skarsgaard, have only a certain ability to evoke complex emotions through contemplative action and stoicism. Still, like him, he can explode with enchanting effect.
The fact is that no one has come close to the Bond universe to be as interesting, especially insofar as he has unique motivations. Javier Bardem was certainly fine, but felt like Shakespeare. I love Skyfall, even its bold deviations from the formula. The very personal aspect was different for Bond, although perhaps quite familiar (and besides, Bardem was not No land glorious). European actors (who also extend to the British) often tend to keep your American outbreak there. Mikkelsen has indeed flirted in American cinema with roles in such films Rogue One but there is a clear feeling that he has been underused so far. He’s coming in Indiana Jones 5, as recently announced. Something that seemed possibly tired and a bit like scraping a barrel suddenly feels a little more interesting about having Mads. Again, he’s great at things like that Rogue One and Doctor Strange, but as a fan I feel like he deserves a better movie around him. Of course, this is definitely a true Netflix star Polar.
I found myself excited about Mikkelsen’s exceptional abilities, kept tabs, and went back retroactively to watch his charismatic debut Nicolas Winding Refn Push series. In Push he was certainly in good company with Kim Bodnia before he became more central in the first sequel. The signs of making a star were obvious. The screen’s fascinating command and ability to make exciting, distinctive choices. Hunting is a film that deals with a difficult subject with such intensity and granular approach as you would rarely get in an American studio theater (which might carry eggshells or drift away from reality instead of melodrama). His world begins to crumble apart as the kindergarten student’s naive lie gets out of hand. It’s a fascinating film drawn by a subtle direction (from Thomas Vinterberg), interesting character dynamics and one of the best performances of the last decade from Mikkelsen. It’s a great job, as rewarding as it’s hard to look at.
Mikkelsen and Vinterberg started again last year, resulting in another film that grabbed audiences around the world and showed a critical collapse. Second floor sees Mikkelsen as a problematic teacher whose life is already beginning, and is complemented by a drinking experiment that inevitably goes out of control. Again, there is a precise balance between introspective work and emotional outbursts, often fueled by the characters ’tireless state (and the already infamous“ dance scene ”). It’s a film that unfortunately seems underrepresented in Oscars, except that Vinterberg took a nod in a direction you would call a real outside stroke. Still, there is plenty of evidence that Mikkelsen continues to do strong and interesting work in his home country, nicely balanced with the big pay days in Hollywood (where he always offers a spark).
Riders of Justice sees the Danish-made Mikkelsen equivalent to something of Liam Neeson’s office Assumed shit. However, there is a difference. It seems to be more grounded in intensity and interesting in character dynamics with humor as well. It doesn’t seem to be a checklist for a genre movie chart in the same way a future Hollywood remake can be (if the movie gets enough cult drive). To some extent, it’s such a thriller that they do so well in the Nordic countries. A nice mix of drama, humor, flashy graphics and intense performance. Although it appears in a simple formula, it is treated with slightly more artistic merit (in theory anyway). It looks good and goes high on my watch list.
When I wait Riders of Justice (eagerly), I’m currently in the middle of running through Hannibalwhen you finally get to know it (thanks to Amazon). I’m amazed at the intensity of the show, the more surreal aspects, and definitely the customization. Even for me, a horror enthusiast, this is sometimes grotesque. There are some horrific post-mortem crime spots on display, while Hannibal’s specialist slaughterhouse also gets the hair up on your neck. As a character so iconic through film and literature, playing Lecter is of great importance. Mikkelsen offers his own unique spin on the character, which makes him very fascinating and completely magnetic. The cancellation of the show will still leave fans more attractive and during the Netflix awakening time, who knows. Whether Mikkelsen wants to return is a matter of course.
In the future, we can expect more great work from Mikkelsen. Like Hauer, he will likely have a hard time being a type choice for potentially American studios, different from his own unique intensity, to play the villain. No doubt, however, he would have gravity if he got a plum role outside of the flags of success. It will happen one day.
What do you think of Mads Mikkelsen? What is your favorite of his performances? Tell us on our social channels @ flickeringmyth …
Tom Jolliffe is an award-winning screenwriter and passionate kinefile. He has several films on DVD / VOD around the world and several releases scheduled for release in 2021/2022, including Renegades (Lee Majors, Danny Trejo, Michael Pare, Tiny Lister, Patsy Kensit, Ian Ogilvy and Billy Murray), Crackdown, When Darkness Falls, and World of War: Attack (Vincent Regan). You can find more information on the best personal site you will ever see …https://www.instagram.com/jolliffeproductions/