A working girl faced with her father encrusted, retirement home for clown. Maren Ade book with “Toni Erdmann” in competition, a highly disconcerting comedy, where the grotesque support emotion.
How far will lead us this delirium, this disconcerting farce? And what relationship the link? More than once, a little stunned, folded in four and disturbed at the same time, we asked the question before this UFO made in Germany that is Toni Erdmann . View the superheated atmosphere enough of the room (who applauded in the middle of the film, before a cathartic scene where the heroine gets his head off a Whitney Huston song), we were not the only ones. If there was a badge of originality, the film would have a chance. An originality all the more surprising that it springs in the ultra-normed part of a micro-society totally banning a priori: that of “consulting” for large enterprises, medium where it does not really laugh, where the objective is best to outsource to profitability at all costs, short of letting as many people on the floor.
Dentures, snags, malaise
Ines, a German 37-year expatriate in Bucharest, is one of those soldiers of economic success. While under pressure, constantly tense with the effort, but a “killeuse” all the same, impeccably dressed, fully invested in his work and sacrificed almost everything for him. She lives alone, has no children, but a little special father, an end-to-process by which the disorder happens. He’s a teacher, organizes comedy shows in retirement homes. One day he arrived unexpectedly in Bucharest to see his daughter. Very busy on the eve of a delicate negotiation, she appreciates means, especially since it comes sporting a wig informs plum color, with a special denture lining up unsavory snags. She takes on her anyway, invited to a cocktail at the embassy and it is not better to do than to keep playing the horns to death with wacky projections. This father is kind of joker. She is ashamed. Between them, the current struggles to pass. He asks her if she is happy. The issue strengthens discomfort. The father will be starting to Germany, to the relief of Ines.
Except that the father does not take the whole plane, and became entrenched as a parasite in its environment. It is found in a cocktail, which of course it does not go unnoticed. The curious thing is that it is not totally rejected the contrary. Between fascination and embarrassment, this pest clown has something attractive. Maren Ade actually free and loose electron, able to reveal the ambient circus and its vulgarity, games of power and social representation, and above all the stifling straitjacket in which his daughter is left trapped. A bet dared, because father is a concept in itself, an incongruity in a very real world.
From hair, it is quite a matter
strength of the script (also signed by the director), where we guess the influence of the theater across the Rhine, cabaret and till Eulenspiegel (legendary character of German culture), is to keep up after the marriage against nature, between abstraction and realism, via winding paths, where surprises are welcome. Those of a satire mocking the established order, a grimacing farce, often hilarious but also against-the odds, touching on the link father / daughter. Here we can easily go from laughter to tears, without anything being explicitly stated. It’s every time the setting absurd condition, situation and its symbolic force more than words, so that light flood shame, embarrassment, conflict or deal.
Toni Erdmann are sometimes repeated. A little long, it probably would have deserved to be shortened. It reserves nevertheless through great moments of grotesque – including a brunch scene, organized in very professional goal to reunite the team, where everyone ends up literally naked. Hairiness, there is also a lot of questions, especially through the momentary burst of a creature, Joint Yeti and Wookiee.
Yes, disconcerting is the word. We needed actors to live up to that. Those Maren Ade chose are impressive. Peter Simonischek, a large German theater, is a work dentelière with his role of troublemaker. Sandra Hüller shows for its turn to psycho turn domineering and fragile. The scene where she is unable to withdraw too tight dress, she squirms endless place, pulls the fabric, climbing out of his oppressive corset is a great burlesque scene with a strong symbolic content: we see here neither more nor less, the metamorphosis of a woman emerging from its chrysalis.
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