THE CELEBRATION

• Starring Ulrich Thomsen and Henning Moritzen
• Directed by Thomas Vinterberg
• Rated R with profanity, nudity, strong sexual content; running time 105 minutes
• With 10 as a must-see, Jack gives this film a 7

By Jack Garner
Democrat and Chronicle

(Nov. 13, 1998) -- As most of us know, family skeletons sometimes come out of the closet to join us at reunions. Suddenly, old jokes and fond remembrances are pushed aside by an awkward situation or unsettling confrontation.

That's the set-up of The Celebration, the eccentric Danish tragi-comedy that won a special jury prize at May's Cannes Film Festival.

Directed and co-written by Thomas Vinterberg, The Celebration recounts the gathering of a wealthy Danish family, assembled to honor the patriarch, Helge, upon his 60th birthday.

But as his grown children come together, it's clear they harbor regrets and anger.

Christian is a seemingly solid restaurateur, though he is still in shock over his twin sister's recent suicide. His other sister, Helene, is a free-spirited hedonist. Brother Michael is an insecure loose cannon, who takes out the neglect and pain of his childhood on his family.

They are joined by relatives and friends, along with Helge's ever-patient wife.

After a long prologue in which the various guests arrive at the country home, they assemble for the film's centerpiece -- a family dinner, the celebration of the title.

But all the wacky humor and quirky behavior explodes into an embarrassing, apocalyptic moment: During his birthday toast to his father, Christian accuses him of sexually abusing him and his twin sister when they were youngsters, leaving the scars that led to her suicide.

Talk about a conversation stopper.

In the upheaval that follows, folks keep trying to have dinner and give toasts, but Christian keeps rising from his place to offer even more horror to the family memories. And not much else happens.

The Celebration is the latest Scandinavian film made by one of the leaders of Dogma 95, a document signed by filmmakers who pledged to make movies that are free of special effects and other gimmicks and are rooted in reality.

But, ironically, all the jerky, handheld camera work and direct-to-video transfers that give the film its documentary feel call as much attention to themselves as any Hollywood gimmick.