YOU ARE NOT ALONE

Denmark, 1978, 94 minutes, Colour.
Anders Agens, Elin Reimer, John Hahn- Petersen.
Directed by Lasse Nielsen and Ernst Johansen.

A Danish film set in a school for boys. Starting with some exaggeration, it moves towards realism with lyrical aspects of the boys growing together as well as criticism of adult attitudes, education systems.

The film reflects the permissive aspects of Danish society and focuses especially on the formation of moral and social attitudes for the boys. While taught traditional subjects, they are also taught contemporary creativity, movement etc.

In terms of morals, there is a more permissive attitude allowing the boys to develop more from their interior attitudes rather than from imposed standards. There is a criticism of imposed standards. This comes to a head in the homosexual attitudes of Bo, the young hero. It is complicated by his feeling for the young son of the headmaster. There is a lot of sexual talk but nothing explicitly homosexual until the end, when the film veers back towards a lack of realism and contrived dramatics in a home movie made to shock the headmaster and his guests at the end of the year.

There is a great deal of insight into contemporary adolescence especially in the Danish scene, as well as questions raised about moral education. The film is of interest and has momentum until the end when it seems to become incoherent, suggesting a lack of force in the screenplay or a lack of budget for filming with better continuity. A film which raises many questions. It was banned originally for children’s viewing in Scandinavia. After protest, the ban was lifted.

1. The significance of the title, indication of themes? Reference to Bo, to Kim? The focus on growth, boyhood and, adolescence?

2. The highlighting of relationships, personal development, education? The presentation of homosexuality, especially its focus on pre-puberty children and young adolescents? In contemporary Scandinavian society? In schools, especially those for the same sex?

3. The film’s specific focus on homosexuality? A plea for homosexuality? A plea for tolerance? A plea for understanding? Its presentation of facts, its presentation of attitudes, moral standards, law? The significance of the final film, in its presentation, visuals, contrivance of a film for authority and education fingers?

4. The Danish atmosphere, color, landscapes, authentic feel for society, Danish education, religious and moral background? Denmark in the 1970s?

5. Could the film be described as permissive? Presentation of moral standards and the presuppositions about moral education? Presentation of the traditional approach, the Christian approach, and generally strict approach? The use of the realism, satire?

6. The style of the film: realistic? The build-up of ridiculing the headmaster and the boys school at the beginning, the transition to a more realistic approach, the blend of comedy, a serious sequences, lyrical sequences, the transition to the finale and the contrivance of the performance at the end of term? The making of the film and its impact on the audience within the film? Consistency of style, the happy blend of a variety of styles? The importance of the prologue, the introduction to Bo, indication of his attraction to the boy at the beach? The focus of the film on Bo? The introduction of the boys’ school? The boys and their way of life, in the dormitories and the room, meals, sport, swimming? The boys’ talk, jokes, emphasis on sexuality?

7. Kim as the headmaster’s son and his interest in the boys in the school? Indication of heterosexuality and behavior, homosexuality?

8. Bo within this context, attraction towards Kim, hesitancy towards him, when Kim was drunk at the picnic? The irony of the ending and their participation in the film? Credibility of Bo’s behaviour? Participation in the life of the school, studies, revolt against the headmaster? His emotional life and development?

9. Introduction of the headmaster, his guiding the people around the school, his reaction to what he saw? Strict attitudes? Attitudes towards his son, his wife? His strict decisions, the good name of the school, teaching class? Pressurizing the expulsion of the boy? Handling of the staff? The walkout of the boys? His feelings of the end? How well did he embody strict adult attitudes? Critique of these?

10. The picture of the various boys? Attention given to the details of daily life in school? Ole and the pictures and the wall? sexual behavior, especially with the cooks? The boys’ talk, the visits to the town, classes and discussion of society and revolution, sport, creativity and drama? The protest, painting the room? Participation in the end of the play and film?

11. The picture of the staff, sympathetic, the temporary man, his voting with the headmaster, the harsh members of staff and their strictness?

12. Ordinary people presented in the film, the parent worried about her son’s masturbation, the people in the shop?

13. The presentation of the thugs, pursuit and Bo, the tormenting him, the humiliation when boys confronted them?

14. Kim, his age, place in the family, attraction towards the boys, to Bo? The picnic and his being drunk and his reaction? Continually going over to the school? Participation in the film?

15. The overall effect and the impact of this film? To present attitudes, to change them? Credibility of the characters, situations, behavior? A case for discussing moral and social and educational issues?