“The Promised Land” is unlike any movie you’ve seen. The story begins with a lesson and a protagonist pursuing an unattainable goal. And there are/ There are groups of bandits, sadistic counts, tortured slaves, and a crude romance. A fierce little orphan adds to the mix. They do not create any historical dramas like this anymore. The plot is packed with so many conflicts that the last final battle is bound to happen, however, it is also very monotonous. Still, there is room for the unimaginable space, and the film moves deliberately to develop the characters and their relation. I wonder how “The Promised Land” is so brilliant.
The film is set in 18th-century Denmark, which is marked by agricultural reforms that break down social classes. The rich live a life of luxury while the “little people” exist in a near serfdom state. Directed by Nikolaj Arcel, the movie picks up with Ludvig Kahlen in abject poverty and misfortune. Ludvig Kahlen is played by Mads Mikkelsen, who has previously collaborated with Arcel. Mads Kahlen suffers from striking poverty, living in a broken-down house with dreams of turning an uncultivated piece of land in the Jutland “heath” into farmland. The King of Denmark is extremely keen on settling this area, but neither the royal court nor local landowners support this idea. Even so, Ludvig has faith that this will become a reality if he proves himself worthy.
The heath soil is so tough that it is nearly impossible for Ludvig to dig a hole. A new supporting pastor, Anton Eklund, offers assistance in the form of two runaway tenant farmers, a husband and wife pair, Joannes (Morten Hee Andersen) and Ann Barbara (Amanda Collin). Ludvig reluctantly agrees, but they will be sought after, which creates a problematic situation. In other news, the nearby nobleman Frederick de Schinkel (Simon Bennebjerg) is planning to drive Ludvig off his land. At first, it appears that Frederik is a stupid and shallow man, only later is he revealed to be a sadistic monster. He does not even attempt to “play” with Ludvig. It is unrestricted warfare from the beginning. Along with this Ludvig has to deal with packs of bandits hiding in the woods around his house. To complicate matters, there is a runaway child (Melina Hagberg) who Ludvig discovers standing on his doorstep and doesn’t appear to want to leave.
Everything mentioned here is a mixture of fact and fiction. Ludvig Kahlen was indeed a person, and there was in fact a heath settlement with all its intricacies. The Captain and Ann Barbara, a novel by Ida Jessen, served as the film’s original concept. One cannot deny that their fictionalization is spectacular. It feels like this material could have been a bodice-ripping drama in less capable hands. But “The Promised Land” possesses its control. The narrative is what is the most compelling. It is astounding how much character development is achieved. Mikkelsen’s performance is a wonder, indeed. Withdrawing too much into his character, he becomes unbearably rude towards Johannes and Ann Barbara and cruel towards the boy. This man, what pain is he in? What is he hoping to find? Or escape from? At times, mere hints of sympathy show at the edges of his eyes and mouth And what lies behind these walls of emotions must be dire These moments are more potent because, as we see, it is the exact opposite of how expressively emotive Ludvig is. Amanda Collin is as impressive as Ann Barbara, opposite a character that goes through the most radical transformation in the film.
The cinematography of Rasmus Videbæk captures the landscape in all its manifestations, from the foreboding fogs and nights of howling wind to the glaring sun and the dark, enchanted, and danger-filled forest. The inside of De Shinkel’s estate is candlelit at night, evoking the stunning imagery of Kubrick’s “Barry Lyndon.” The costumes and production design is worn and lived-in which makes them unnoticeable, but in a good way.
The conflict in “The Promised Land” is suspenseful, and Frederik is so vile he may as well be a cartoon. Although the battle gets tedious over time, the interesting element is Ludvig’s character growth along with the other members of the makeshift family. These people were important to me. They felt authentic. I was so happy when the first delicate seedling emerged from the soil because “The Promised Land” is so effective at what it set out to achieve. It is proof a film needs to get the big things right events, conflicts, and obstacles, but it also pays attention to the details. When the details are done right, a potato coming out of the ground will be the miracle it is.
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