Final Rating: 3.5/5
There but for the grace of God… Director Magnus Von Horn’s The Girl with the Needle, Denmark’s official entry to the Oscar’s, tells the story of Karoline Nielsen (Vic Carmen Sonne) a young factory worker in Copenhagen towards the end of World War One. Based on actual events, we meet Karoline as she’s being evicted for falling months behind on rent.
She works in a large clothing factory, sewing on the assembly line. She applies for a widow’s grant from her employer to help make ends meet, but unable to provide her husband’s death certificate her request is denied, “as moving as her letter was.” Displaying some compassion, her employer Jorgen (Joachim Fjelstrup) tries to discover her husband’s whereabouts, but is unable to ascertain where he is, other than that he is not on the list of those killed in battle.
Eventually the two begin an affair, until her husband Peter’s (Besir Zeciri) unexpected return after a year missing. She doesn’t recognize him at first as he was gravely wounded in the war and disfigured, leading him to wear a sort of mask to hide the scars. She asks if he got her letters, and while he says yes, has no reason why he didn’t answer. She then informs him that she’s met someone else and is pregnant. She then tells him (with great fervour) to leave, as she has a “new life now”.
Life however, if nothing else, doesn’t always go according to plan. Karoline and Jorgen are set to be married, when his mother the Baroness intervenes. After having a doctor ensure Karoline is pregnant, and not just out for money, she threatens to cut Jorgen off if he follows through with the marriage. Not wanting to forfeit this entitlement, he chooses to leave her. Thus, Karoline is unceremoniously left pregnant, unemployed and alone.
At this point, after trying to abort the pregnancy by herself in a tub at the baths using a large crochet needle, she meets Dagmar (Trine Dyrholm) who offers to help her find a foster family for the child instead. Karoline thinks about this, but doesn’t act right away. One day she sees a sign for a circus in town with a picture of Peter who is reduced to working as a Freak to make ends meet. After going to see the show, she takes him back to her apartment to rest up and eat. Shortly after this reunion she gives birth. The next day the child is given up for adoption with the help of Dagmar.
With no place to go, Karoline then sticks around to assist Dagmar in running her sweet shop and offers to help care for the babies before they’re given up for adoption, as she is still able to feed them. It’s not long after this that things take a turn, and Karoline discovers all may not exactly be what she expected. She turns to drugs to cope, often taking ether to escape their reality. I won’t spoil the rest, but the ending wraps up the character’s journey in a way that works effectively, even if much of what leads up to it is a very difficult story matter.
The film’s subject matter is certainly one that remains extremely relevant, especially in light of recent social circumstances involving women’s health, rights and bodily autonomy. The performances are excellent and the black and white photography gives it a certain gritty feel. It’s dark, thought provoking, and one can’t help being drawn in by the plight of Karoline, and the various women we come across, all the while wondering what actions one would have taken in similar, often desperate, circumstances.
Thank you to Touchwood PR and Mubi for the screener.
