BY MIRIAM RINN
Filming in black and white seems to be all the rage these days, and it makes sense for a movie set in the 1930s. Our visual memory of that time is in black and white, literally and metaphorically. The Swedish film “The Last Sentence” takes that view. This bifurcated biopic of anti-Nazi journalist Torgny Segerstedt, editor-in-chief of one of Sweden’s leading newspapers in the first half of the twentieth century, admires his uncompromising stance during those years. But then there is his personality.
While part of the film is devoted to his courageous and often lonely battle against Hitler and what Segerstedt saw as Sweden’s appeasement of the Nazis, the other part focuses on his complicated personal life. The man had an adoring wife who he ignored, a Jewish mistress who was the wife of his best friend and employer, and a dead mother who haunted him. He was a busy guy, obviously, and director Jan Troell toggles back and forth from the professional to the personal without interweaving them in a way to make an organic whole.