The Swedish television series ”Trolösa” (Unfaithful), a recent adaptation of Ingmar Bergman’s work, presents a curious casting choice that disrupts the narrative’s flow and leaves viewers grappling with an unresolved mystery. The series portrays the younger and older versions of the character David, Bergman’s alter ego. While the younger David is played by a Swedish actor, Gustav Lindh, the older David is portrayed by Danish actor Jesper Christensen. This seemingly innocuous decision introduces a jarring inconsistency: the Swedish character inexplicably speaks with a Danish accent in his later years. The shift is subtle yet unmistakable, transforming words like ”bra” (good) into ”brå,” hinting at a linguistic transformation that goes unexplained within the narrative.
The audience is left to ponder the reason behind this unexpected change. Did David pursue a career at the Royal Danish Theatre? Did he relocate to Denmark? The series offers no explanation, leaving the Danish accent to linger like an uninvited guest at a party. This unanswered question, the ”elephant in the room,” becomes a distraction, diverting attention from the story’s core themes. The viewer’s focus shifts from the emotional complexities of reuniting with a past love after forty years to the puzzling transformation of David’s speech. Instead of being drawn into the narrative, the audience finds themselves preoccupied with the unexplained linguistic shift. This disconnect highlights a potential drawback of international co-productions, where casting decisions may be influenced by financial considerations rather than artistic integrity.
The intrusion of Christensen’s Danish accent underscores the fragility of the ”fourth wall,” the invisible barrier that separates the fictional world from the audience. This wall, paradoxically, is what allows viewers to immerse themselves in the story. However, in ”Trolösa,” the unexplained accent shatters this illusion, reminding viewers that they are watching a constructed narrative rather than observing a slice of life. The jarring shift in language breaks the spell of the story and pulls the audience out of the world created by Bergman. The unexplained Danish accent becomes a constant reminder of the artificiality of the narrative, preventing full immersion in the characters’ emotional journey.
Despite this significant flaw, ”Trolösa” offers a redeeming moment in another scene, albeit one that raises its own set of questions. A character describes someone’s sexual prowess using the overused cliché, ”He’s like an animal in bed.” This worn-out metaphor, frequently employed to create an aura of mystery or intensity, often falls flat due to its lack of specificity. Which animal is being referenced? A gentle lamb? A ferocious tiger? The vagueness of the comparison renders it meaningless. Remarkably, ”Trolösa” acknowledges the absurdity of this cliché when David echoes the viewer’s unspoken question: which animal? The response, ”uncomplicatedly horny,” while amusing, merely replaces one vague descriptor with another and opens up a new avenue of animalistic comparisons.
The series’ attempt to deconstruct a tired cliché ultimately stumbles into a similar pitfall. While the acknowledgment of the metaphor’s emptiness is refreshing, the offered explanation fails to provide any further clarity. The question of which animal best embodies ”uncomplicated horniness” remains open for debate. The attempt at meta-commentary, though initially promising, ultimately leaves the audience with more questions than answers, mirroring the unresolved issue of David’s Danish accent. Both instances highlight the importance of precision in language and the dangers of relying on vague and overused expressions.
In conclusion, ”Trolösa” presents a mixed bag. While its attempt to dissect a tired metaphor demonstrates a degree of self-awareness, the series’ central mystery – the unexplained transformation of David’s speech – ultimately detracts from the narrative. The jarring presence of a Danish accent, where none should exist, serves as a constant reminder of the artificiality of the production and underscores the potential pitfalls of international co-productions. While Jesper Christensen delivers a commendable performance, his Danish accent creates an insurmountable barrier, preventing the audience from fully embracing his portrayal of the older David. This casting choice, seemingly driven by financial considerations, ultimately undermines the integrity of the narrative and leaves viewers pondering a linguistic enigma rather than engaging with the story’s emotional core. The unanswered question of David’s Danish accent becomes a persistent distraction, preventing the audience from fully immersing themselves in the world of ”Trolösa” and diminishing the overall impact of the series.
