Different versions of movie titles in different languages sometimes say interesting things about a movie, but also about the markets in which it is shown. This is also the case with the film that has been at the top of Netflix’s international charts these weeks, and which in the Norwegian language of the original version has the title ‘Narvik: Kampem om Narvik‘ meaning ‘Battle for Narvik‘ (2022 – directed by Erik Skjoldbjærg). A neutral title, as if borrowed from a history book. In Romania, where I saw the film, the title was simply shortened to ‘Narvik‘. Instead, the title of the English (international?) version is ‘Narvik: Hitler’s First Defeat‘. Probably the distributors considered it to be a more commercial title, even if the statement is somewhat questionable historically. This film, beyond its belonging to the category of ‘war films’ includes a story – fictional, but more interesting than the military scenes that abound and which asks a question related to a human dilemma to which it is difficult to give a firm answer: are there situations in which giving up fighting or even collaborating with the enemy would be justified?
The story takes place in May 1940 in the Norwegian port of Narvik, which became a strategic point due to the deliveries of ores from Sweden to the 3rd Reich. At the same time as the defeat of France and the fall of Paris, an important battle took place here in this first phase of WWII. Violating Norway’s neutrality, the German army occupied the port only to be temporarily driven out by Allied forces and the Norwegian army. This first defeat of a hitherto invincible army was short-lived, as the Germans returned, occupying the port and all of Norway and installing a collaborationist government for most of the rest of the war. These are the events against which the drama of the Tofte family takes place, told in two parallel narrative threads. Corporal Gunnar Tofte, built up of the material of heroes ready to risk his life for his country, is in the army and fights against the occupiers. His wife, Ingrid, works at a local hotel and her knowledge of German and English puts her in a position to meet both with the military of the occupation forces and with the English diplomats who had become Allied since the invasion. When the life of the couple’s little boy injured in an English bombing is in danger, Ingrid is faced with a terrible dilemma in order to save him.
‘Narvik‘ has many of the qualities of a good Netflix production. The action scenes are very well filmed. Cinematography is beautiful and filming on location added to the feeling of authenticity. The characters are well fleshed out and the acting is good. It’s a war movie where the human dimension is the most interesting part. And yet, it was here that I felt a huge missed opportunity. In most of the film we witness heroic resistance with clear motivation – ethical and nationalistic. The ending reverses the situation, and seems to forgive the film’s heroes for an act that, seen from a different perspective, could be categorized as treason. In a way, the Tofte family’s decision is a replica, on a personal scale, of a situation in which the entire country found itself during the WWII. I don’t know to what extent these aspects have been discussed in the Norwegian society or reflected in books and films. In any case, in ‘Narvik‘, my feeling was that debate has been avoided.