An arsonist heats up a rural Norwegian community's summer in the latest from the director of 'Insomnia.'
The fascination of puzzling out a compulsive fire-setter’s motivations keeps “Pyromaniac” absorbing, even if the film itself provides precious few answers in that regard. Inspired by actual events in 1978 rural Norway (the source novel here was written by a later resident of the town in question), this straightforward tale maintains interest without paying much of the expected attention to suspense or character insight. While that inevitably makes the results less than entirely satisfying, it’s an admirably modest, non-melodramatic enterprise from helmer Erik Skjoldbjærg, who won international attention with “Insomnia” and “Prozac Nation.”
Nineteen-year-old Dag (Trond Nilssen) has returned from a year’s military service to again live at home with his parents, machinist/local fire chief Ingemann (Per Frisch) and cleaning woman Alma (Liv Osa). The latter pesters him to get a “real” job, but Dag is content to please his father and himself by volunteering on the fire brigade, whose truck and equipment are kept in their family’s barn. While that’s a gig without pay, it’s one with excitement — frequent excitement, this summer at least, as a series of suspicious fires points toward an arsonist on the loose. While only abandoned shacks and such are torched at first, it seems only a matter of time before the perp begins targeting actual residences.
Finding it unimaginable that a local could do such things, most in the area assume this is the work of some malicious outsider. Only careworn Alma notices Dag’s curious behaviors, which include unexplained drives in the middle of the night and other secretive activities. Ingemann, who’s grooming his son to take over the physically demanding post he’s no longer quite young or hale enough to handle easily, flatly refuses to take her worries seriously. But as his “problem” escalates, Dag — revealed to us as the pyro early on — seems to be deliberately tempting exposure, leaving an incriminating pile of clues in his wake that the area’s sheriff can scarcely ignore.
If his actions possibly constitute a “cry for help,” we nonetheless have zero idea just what pain Dag is expressing. Indeed, he seems quite a giddy, borderline-manic firestarter, relying on his cherubic good looks and deep local roots to render personal guilt unthinkable. Bjorn Olaf Johannessen’s screenplay just teases some possible explanatory psychological causes, hinting that our protagonist is considered “a bit strange” even by peers in this close-knit community of 800. (While never scorned outright, he notably appears to have no real friends.) But writer, director, and Nilseen’s performance avoid any more overt explanation to keep Dag an intriguing cipher — the towheaded boy-next-door inexplicably hiding a monster within.
“Pyromaniac” is abetted by strong supporting performances and a somewhat raw, docudrama-style presentation. It might’ve been even more absorbing had the filmmakers found a way to incorporate (perhaps as a framing device) the real-life story’s bizarre aftermath: Found mentally unfit for criminal trial after his 1978 arsonist rampage, the actual “Dag” who inspired this fictionalization eventually re-settled in his home community, to residents’ reported great unease.