Druk (65)
In the closing sequence of Thomas Vinterberg’s dramatic tale of social and sexual ineptitude, we are left to sink into the plurality of life and the conclusion that, at the end, it is both worth living, and being receptive of the pitfalls of life. In doing so, the scenario juxtaposes the cultural connotations of alcohol(ism) as a crutch in life, and depression.
Druk’s story ends on a circular note, with the soundtrack of Scarlet Pleasure setting the tone for the cultural inspection at play. The employment of philosophical jargon in regards to the quantitative role of alcohol in our blood stream is used as a facade for what’s really at play here; Martin, played seamlessly by GOAT Mads Mikkelsen, is the typical middle-age depressed hero, a former talented young professional whose exposure to parenthood and - as the film actually suggests - Danishhood, makes him the prototype of a male adult. We find several supporting players around him sharing similar psychological traits, albeit with diverse social skills and relationships.
It is interesting to note that Druk proposes family life and interrelations as somewhat therapeutic in their essence, when seeing that the people who lack these connections are most likely to be isolated and find their connection to alcohol. Interestingly enough, and what I might say the salvage point of the film itself, is the juxtaposition of generations, pinpointing the deep roots of alcohol’s effect in Danish culture. Kids and adults seem to be flirting with alcoholism, in a society that does not pay the necessary attention to the addiction itself. At a crucial moment in the film, teachers are interrogated whether someone has a “bad habbit”, with the intra-diegetic soundtrack being one of laughter and irony from the subjectgs involved. It is as if alcoholism would be the most shameful thing to acknowledge.
I am eager and willing to interpret the whole text as a more cynical view on adulthood, with each of the remanining three protagonists that are still alive heading into the abyss of addiction and despair well after the ending credits. Yet, the finale showcases a level of optimism which I can only view as a double-edged sword, if we imagine the possibility of Martin falling into the sea and actually getting drowned. What a beautiful ride, indeed, even if there were some noticeable bumbs.
