Text © Richard Gary / Indie Horror Films, 2018
Images from the Internet
True Love Ways
Directed by Mathieu Seiler
Grand
Hotel Pictures; Klusfilm Berlin;
ARRI Film and TV Services; Synergetic Distribution; MVD Visual
ARRI Film and TV Services; Synergetic Distribution; MVD Visual
95
minutes, 2015
Germany is familiar with cinema of the strange in
the past few decades. Just look at the likes of the extremely other-there Nekromantic (1987), or even Run Lola Run (1998) as examples.
Anna Hausburg and Kai Michael Muller |
For this film, named after a Buddy Holly posthumous
rock’n’roll romantic classic from 1960 (which we hear more than once in the
film), it opens on the strained relationship between our heroine, Séverine (the
lovely Anna Hausburg) and her boyfriend Tom (Kai Michael Müller), with the
former telling the latter that she doesn’t love him, but rather has given her
heart to someone of whom that she dreamed; to me, his reactions says a lot
about why she needs to dump his ass.
Speaking of reactions, the first couple of acts of
the film are set at a very languid pace, like being on a rowboat meandering
down a river, with little dialog, as Séverine sits in a park watching people,
spending the night by herself, or driving down the road chewing both her hair
and gum with the camera mainly focused on her face. Within those times,
however, there are some disturbing moments of her wondering, “okay, who should
I trust?” This paranoia also is placed on the audience by some creepy goings-on
that I will very lightly touch on to not give too much away.
Muller and David C. Bunners |
At a bar, after Séverine chucks Tom outta da
co-joint for a few days, he goes to a bar where he meets Chef (David C.
Bunners), who suggests that he will kidnap Séverine and then Tom would come to
the rescue and be her “Tarzan.” With other events that happen in the meanwhile,
during the ebb and flow of the day mentioned above, the audience can’t help
wonder if this is part of a larger event.
About half way through the film, the pieces of some
of the events that happened before and why the Chef is so interested in Séverine
start to become clearer. And yes, it’s even creepier than you’d expect. We get
to figure it out the same time as her, and that’s when the film shifts gears
into overdrive. Yet, and this is where I find the film is playing with us,
there are still moments of long silence and little movement, that in the
heightened state of tension and adrenaline, are nail-biting thriller moments.
Again, you know Séverine is feeling the same. It’s really well written that the
audience gets to not just sympathize, but empathize, because you’re feeling a
bit of what she is experiencing (without us being in real danger).
While definitely a sharp (and occasionally darkly humorous)
thriller, some have referred to this as a kunstfilm
(art film), and not just because it’s in black-and-white. It’s the pacing, the
way the music works with the film
beyond jump scares, but it’s not obnoxiously so. In other words, most art films
try so hard to be ar-tay, that they
become obtuse and confusing. There is none of that here. There are also few weird
angles, other than multiple long close-ups of Séverine’s face.
The good news is that Hausburg is talented enough
that with the extreme close-ups and lack of dialogue, it still is easy to read
the broad emotional range she expresses (i.e., no “Blue Steel” vs. “Magnum”).
As always, the bad guys underestimate Séverine;
while she’s no hired assassin like in the predictable and ordinary Final Girl (2015), she is extremely
resourceful and works her way through situations (which we get to watch, step
by step by facial expression).
The one cliché that is easy to predict in the film
regards a tavern owner. I actually said, out loud as soon as she walked into
the bar, “Oh, really?! C’mon!” But in a film that’s over 90 minutes, I can
forgive it considering how much else is going on.
What really drove me crazy is the Tom character.
Hero? Villian? No matter, he’s an asshole, that’s for sure. I’m not going to go
into details, but like the male protagonist in Run Lola Run, I have no respect for him.
Sometimes arty films can be especially bloody, such
as with Nekromantik, or Miike’s Audition (1999), and while it’s not
overly done or in super-graphic detail like many Euro-body horror releases, there
is definitely a spurting of the stuff. That being said, there will be a
contingent with whom I agree to some level, who will argue that the males are
killed pretty quickly, but it’s the women who receive the brunt of the
brutality.
Okay, I know I’ve made a couple of complaints, and
they seem valid to me, but overall this is quite the stunning picture. Sure,
not necessarily a date flick (depending on your companion, of course), but it
really is a beautiful piece of cinema, and much of that is directly is in the
lap of Hausburg and her mighty-fine acting. My fear is that it will be remade
in the Western Hemisphere, and the Séverine character will be played by someone
like Chloë Grace Moretz or Abigail Breslin (who’s IMDB’s bio laughingly states
is one of the “most sought after actors of her generation”), who cannot really
do the heavy lifting acting that would be necessary to match Hausburg.
The only extra on this DVD is the chapters; the
captions are imprinted onto the film.
Séverine certainly lives up to her name. Loving her
would be severe, and threatening her would be even more so, judging by the
actions here. She’s a bit nuts, but borderline enough that you’d have to be
intimate with her to see just how around the bend she is. Part of the explanation
and what is interesting on a few levels is that the ending is both a WTF and an Ohhhh-I-see
moment. You certainly don’t see that occur much anymore.
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