Lone Hertz Movies

A troubled mother-daughter relationship becomes even more corrosive when the widowed mother (Lone Hertz) rents out a room in their spacious suburban villa to a handsome writer (Lars Bom). The teenage daughter (Mette Maria Ahrenkiel) quickly attempts to seduce the new tenant, more to spite the mother than out of true desire. The girl's hitherto secure little world is falling apart: she wants to fit in with the fast, pot-smoking crowd and, at the same time, help a Bosnian refugee (Dejan Cukic) avoid the authorities. Fighting with her mother for the attention of a grown man almost seems an escape from the outside, too-adult world. In the end, it is the fate of the young Bosnian -- so much more consequential than a petty love triangle -- that forces mother and daughter to reevaluate their relationship. Directed by the then 83-year-old Danish veteran Astrid Henning-Jensen (Child of Man (1946), Vinterbørn (1978)), Bella Min Bella received more attention as the return to the screen of 1960s screen star Lone Hertz (Crazy Paradise (1965)) than for its slightly anachronistic generation-gap theme. ~ Hans J. Wollstein, Rovi

Dirch Passer, one of the most beloved comedians to act in Danish films, stars in this zany crime comedy. His chief talent is to survive as a small-time operator amid a group of big-time crime sharks. One of the ways he does this is to utilize his talents at disguise, especially in drag. ~ Clarke Fountain, Rovi

The vicar of a country church (Dirch Passer) operates a profitable travel agency specializing in trips to Spain. When the church officials become outrages over his non-religious concerns, he leaves for the South with an angel (Lone Hertz). Her main mission is to try and seduce the vicar in this offbeat comedy that has some resemblance to the plot of Topper. ~ Dan Pavlides, Rovi

A female dress designer runs out on her boyfriend after the actor proves to be too forgetful and she feels she is no longer being respected. She is invited to dinner by an old flame who is now married, and her presence causes quite a scene. There are flashbacks, flashforwards and flashes of anger in this satirical commentary about the social elite. Nudity is used as a parody of the Swedish blue movies that have emanated from that country. ~ Dan Pavlides, Rovi

A well respected physician is driven to murder when an elderly husband tries to brutally rape his young wife. Using flashbacks, the evil elder is seen walking in the big city to a modern music score and a life that has passed him by. The story is based on the 1905 novel by author Hjalmar Soederberg but is updated to the time of the release of the film in 1968. The doctor willfully commits the murder, knowing that a third party and not himself will ultimately benefit from the old man's death. ~ Dan Pavlides, Rovi

Obviously inspired by French filmmakers such as Francois Truffaut and Jean-Luc Godard, Danish director Astrid Henning-Jensen crafted a psychologic triangle-drama about a student (Lone Hertz) who falls for an older newspaper columnist (Ebbe Rode). He is married, however (to beautiful Swedish actress Anita Bjørk) and is not at all ready to leave her to start a whole new family. It is all a bit on the dour side with the young girl a bit too analytical for her tender years and the literary critic a boring old fop. As always, director Henning-Jensen is good at capturing fleeting moments but there simply isn't enough material here. ~ Hans J. Wollstein, Rovi

Danish novelist Herman Bang's epic re-telling of the country's defeat to Bismarck's Prussia in 1864 is given a melodramatic treatment by Knud Leif Thomsen. Lone Hertz plays the church warden's naive daughter, Tine, whose tragic love affair with a married woodsman (Jørgen Reenberg) parallels the rise and fall in Danish military fortune. The eventual Danish defeat and the disastrous loss of the dutchies of Schleswig-Holstein (a national tragedy felt into the 20th century) is given second place to the all-too-familiar star-crossed lovers. The only memorable performance is given by the veteran Johannes Meyer as Tine's increasingly insane father. ~ Hans J. Wollstein, Rovi

In this oddball farce, Mr. S is completely fed up with the efforts of his overly protective government to shield him and his countrymen from all the viscissitudes of life and decides that he wishes to commit suicide. In order to do the job properly, he enrolls in something known as the School for Suicide, a state-run institution. This bizarre outfit then evaluates him in humorous ways for his "normalcy," and he eventually emerges with the proper credentials from the state which will permit him to do himself in. ~ Clarke Fountain, Rovi