By Chlotrudis Independent Film Society
Rating: 4 cats
Director: Maren Ade
Starring: Michael Wittenborn | Peter Simonischek | Sandra Hüller
Country: austria, germany, romania
Year: 2016
Running time: 162
IMDB: https://www.imdb.com/title/tt4048272/reference
Brett says: “TONI ERDMANN is a comedic drama containing a premise that might seem similar to a large number of films, but this is a film that relies on a subtle characterization and timely humor as its backbone, opposed to many of the over-the-top variants of parent-offspring rift sagas. This is not to say, however, that TONI ERDMANN doesn’t delve into the extreme like other films. In fact, it can be said that it actually dives into that pool with quite a splash, but the layering that precedes such loud comedic moments are well in place before resorting to that brand of humor.
“Ines (Sandra Hüller) is a consultant in her late 30s that wheels and deals, wines and dines executives and associates from an array of international business hot spots, with a particular focus on an oil outsourcing deal being made in Bucharest, Romania, as the plot at this point in her career begins. In a world that pivots on professionalism, Ines is a self-conscious and motivated perfectionist who carefully puts her foot to the negotiation accelerator with evidently no time to sharpen her own proverbial saw free from the round-the-clock, person-to-person nature of her profession.
“Somehow, this humorless demeanor is at the opposite end of the spectrum from her zany, eccentric father Winfried (Peter Simonischek), who integrates his own unique brand of physical and intellectual humor into his life at any opportunity. Thus, the construct for a plot that navigates the divide between the two is established. Not central to the conflict in an overt sense (contrary to how most films of this type would play out) is how two characters tied together through the younger’s formative years could end up so opposite personality-wise. However, part of where this film delivers is offering a very cryptic series of opportunities scattered throughout for the audience to pose this question without the notion being hammered into them.
“To endear the audience to what is about to unfold, the film begins with writer and director Maren Ade’s clever humorous stylings with Winfried front and center of a scene that adequately mixes the tough combination of dry, ironic humor with physical cheekiness. It is not until a few of scenes into the film that we are introduced to the father-daughter dynamic that will pace the majority of the film.
“Remarkable is how the film allows both characters to remain individuals without relying on a co-existence at all time throughout the plot to convey the story’s central themes. This requires a longer runtime (at nearly three hours) than the alternative option, but it is successful because of this creative decision. Of course, the most endearing moments are almost all defined by the moments featuring the pairing of the two characters, but this payoff is brought about by the decision to build each character in select independent moments.
“The two characters, despite glaringly obvious differences, have a connection and actually share a couple of personality traits that dwell below the surface of the film. Clearly, Ines in her line of work is reliant upon a sort of duplicitous personality that is derived from deceptively (or strategically) arriving at the endgame that she has in mind; that is, she is not altogether herself at any given point. In fact, the film features a moment that underlies the fact that we may not know what the ‘real Ines’ is actually like.
“So, where does TONI ERDMANN as the title of the film factor in?
“Winfried, true to form with his physical comedic stylings, adopts a persona known as Toni Erdmann–complete with disguise–at a critical point in the development of the film. He is clearly off-centered enough to be a crowd-pleaser, yet like his daughter, we see inklings of disappointment, or lack of fulfillment. Like his daughter, he is also not completely honest with himself, despite what the gimmicky charm might imply. Notable also is how his leap into different personas warrants a skeptical reaction from those closest to him who experience it; this is a reflection of the reaction that his daughter Ines brings about as well. So, even though clearly foils in terms of characterization, deeper thematic character elements are perceptible for attentive film-goers.
“At a certain point, Winfried forces the issue with his daughter in a rather coercive and embarrassing moment. A pianist/teacher by trade, while with his daughter Winfried makes an abrupt stop to invade a family function that he has weaseled his way into under the guise of Toni Erdmann. Ines is not aware of his intent, and for the sake of keeping an eye on her father (and perhaps a bit of curiosity) she asks her driver to wait a moment to check out the situation. What results is one the top scenes of the film that makes use of song to expose and confront the overly ambitious daughter. It is a song of innocence with equal parts ‘cheese’ that the audience will be sure to recognize with its many associations, but Hüller’s acting talent is on display asclearly as any other scene in this one moment. So many dimensions to the character and the moment are delivered in that one telling moment. Despite the cheesy factor, it is a song that also conveys anger in that moment among the other vulnerabilities that she has hidden throughout the film. To speak about it without the context of the previous 90 minutes or so of the film is impossible and amazing tribute to how well-layered everything has been up to that point. Also, the reason behind the song choice and the connection made in that moment delves into that second layer of the film that perceptive film-goers might ponder. Was this something she used to force him to play when she was younger, innocent, and vulnerable? Was it simply a family tradition? The depth of the moment goes as far as the audience will allow it. It feels like watching one of those iconic moments that plays in clip montages spanning a particular genre’s history of highlights: that is how well-placed and timed the scene is.
“That is not the end of the film’s attempts to leave a lasting mark on the audience. In one of the most absurdist moments one will fine in a conventionally scripted film all year, Ade attempts her coup de grâce toward the end. Some will find the leap quite questionable, while others will applaud its audacity amid the circumstances up to that point. Regardless, what is noteworthy is how Ade earns a bit of consideration for what has been a steady build up to that moment rather than immediate dismissal that it would deserve in the hands of a lesser director with a lesser attempt.
“As such, the film TONI ERDMANN appeals to many sensibilities and does so quite well. The two leading performances in the film are as award-nomination-worthy as any that this particular genre has to offer. The actors never break, and there are so many nuances that permeate scenes throughout the film. One of the biggest draws of the film is how well done the moments of silence are. There are several scenes with a lingering silence in which nothing is said, but authenticity and sincerity lingers. By far, this is the most difficult thing Ade attempts, and it turns out to be the most impactful aspect.
“Despite how it rides the boundaries between subtle and overt, when the big hits come, one might consider renaming the title ‘Toni Ermahgerdmann,’ as viewers will soon discover for themselves. 4 cats”