
A man arrives in a Swedish port city to work as a waiter at the Hotel Busarewski. The man befriends two co-workers: the talkative Gustav "The Count" Svensson and the beautiful waitress Anna. Anna says that she is only there working temporarily, just like the man himself, and that she will soon move on to work at a seaside hotel. The Count, who is skilled in making others do what he wants, reveals to the man a plan he has that would bring them both lots of money and convinces ... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
Sorry, we can't find any suggestions at the moment.
A man arrives in a Swedish port city to work as a waiter at the Hotel Busarewski. The man befriends two co-workers: the talkative Gustav "The Count" Svensson and the beautiful waitress Anna. Anna says that she is only there working temporarily, just like the man himself, and that she will soon move on to work at a seaside hotel. The Count, who is skilled in making others do what he wants, reveals to the man a plan he has that would bring them both lots of money and convinces him to assist in a poorly planned and failed attempt to free a friend of The Count who is in jail.
Leave your thoughts about Giliap.
| Eye for FilmAmber WilkinsonAlthough there's no doubting the film's tragic trajectory, it's the hope - of a kiss, of cash, of a new life - that might kill us, or cure us, before the summer season is over. |
| User ReviewEric BBefore the world discovered Swedish director Roy Andersson with "Songs from the Second Floor" and subsequent films, he offered this 1975 tale about life in a miserable hotel restaurant. Appropriately, it begins with a funeral reception. An unnamed, wholly desolate man arrives to work as a waiter. A cute waitress develops an attraction to him but, oops, a shabby co-worker (who ironically calls himself "The Count") already has a long-time, hopeless fixation on her. Along the way, there's also an attempted criminal scheme that fails to add intrigue. Not much plot emerges beyond these scraps. The romantic struggles gain some heat in the last act, but most of the 130 minutes are spent on Andersson's typically dour, disconnected vignettes. He hasn't quite nailed down his tone yet, however, so there's not that tricky, surreal mix of black humor and tragedy that becomes so unnerving in his later works. Laughs? Few to none in this overlong portrait of bedraggled, unsmiling characters. On the other hand, "Giliap" has none of the shaky production values one might expect - Andersson was already a polished filmmaker. Keep your eye on the parrot. |