Le braqueur - la dernière course

Most fans of Hollywood movies will probably not like this film because it doesn't contain massive explosions or a bombastic soundtrack (in fact it practically has none) but this stunner (based on the story of a real life bank robber) is one of the great thrillers of the decade. A sleek, sparse study of existentialism, THE ROBBER is a must see.

It begins rather abruptly, the first scene is a man named Johann (superbly played by Andreas Lust) running in what seems like a training center, but as soon as the camera pans back we realize he is in a prison and is about to be released after serving a 6 year sentence. As the story unfolds Johann is set free where he begins to win marathons but leads a double life as he returns to his old habits of stealing cars and then using them as getaway vehicles for his bank robberies.

As with European cinema, much of the pacing and characters are understated, there are times when nobody says anything but from the background noises and the looks on their faces you can clearly tell what they are thinking. Even though the few people he knows (his former girlfriend, his parole officer) deeply cares for him and pulls strings to get him to live a normal life it's clear that he does not want any of it. Johann just wants to rob banks and run because that is all he is. The whole movie takes place in Austria, the land of Heidi and Vienna coffee houses but with the movie being portrayed through Johann's eyes, Austria seems bleak, detached and robotic to make it look almost unbearable to be living in; while there are other characters in the story, they seem to be nothing more than minor twinkles in Johann's eye- he does not care for them and it almost seems like they are ghosts to him.

There were some professional critics that lambasted this movie for not revealing Johann's motivation on why he is what he is. But what they don't understand is that it really doesn't matter. Some people do things because it's the one thing (or two in Johann's case) that gives them meaning- everything else is of no consequence. I find the main protagonist/antagonist of this movie to be a combination of Johnny Depp's John Dillinger in PUBLIC ENEMIES and Barry Newman's Kowalski in VANISHING POINT. They exist only to do the one thing that matters to them and that's it.

Johann Kastenberger (Andreas Lust), real life bank robber, would have been considered just another thief but for his second interest -- marathon running. He was still an interesting conundrum as a bank robber, though, in that he never spent any of his ill gained cash. He couldn't put it in a bank, not even a Swiss one, for fear of detection. He couldn't get it out of the country. He didn't seem to want to buy anything anyway. So, it just stayed in a bag under his bed -- not really the best plan for hiding money. We never really find out why he had this compulsion to rob banks, and in the process steal getaway cars. He just did it, and it didn't even seem to make him happy. There was nothing about Johann that expressed happiness, not even his relationship with his girlfriend, Erika (Franzeska Weisz). But what made him a biopic worthy character was his other compulsion -- to run. He was a champion marathon runner who while even in prison, maintained his training regime running circles in the yard and using his own treadmill in his tiny prison cell. When asked by a prison official how his life would change when he got out, he said, 'I won't have to run in circles anymore.' This review is continued at exm.nr/BonnisSteiger . Thanks.

(If you want a summary of the film, read anybody else here.) Despite the activities shown, the film abounds in "still waters." The presentation of activities and the principal character sticks solely to the surface without any explanations. The film is enigmatic and compelling, perhaps even boring to some. Any people seeing this together will have much to discuss afterwards.

Anyone seeing it will come in knowing the robber is a runner since that is the basis for all the advertising. I'm no runner and usually not very interested but this was especially fascinating. The actor Lust portrays the title character in a beautifully minimalist performance and also gives the footwork a distinctive style. I don't know if it would win races but it sure works in this film.

Acting and all aspects of the filmmaking are excellent overall. Even the music for the end credits is good for emerging from the deep waters.

Whenever the movie or a TV show is based on real events or people, its a slippery slope. There is that pesky,annoying difference between the movie and real life. In real life one encounters all kinds of people, makes little contact with them and continues his own way. In the movie, alas, we need much more. The true story based on the marathon runner with a penchant for robbing banks, sounds very original and interesting.The trouble is that Johannn, the lead character stays completely unknown to us by the end of the movie. We have no idea what makes him tick, what his motives are. His stony, stoic expression doesn't give away much. He keeps running and by the end of the movie, I felt the same, albeit running away from the TV set.

Adapted from Dennis Prinz's novel, which is based on real events, "The Robber" has all the elements of a penetrating character study. Unfortunately, director Martin Heisenberg doesn't always use those elements to his advantage. The story is about Johann Rettenberger, an Austrian bandit/marathoner known as "Pump-gun Ronnie." Heisenberg takes a muted, non-psychological approach to his story, and without much in the way of emotional engagement, keeping viewers engaged is certainly more challenging than need be.

Andreas Lust stars as Johann Rettenberger, a serial bank robber who has spent a six- year bid in prison training as a long-distance runner. After being released from prison, Johann runs into Erika (Franziska Weisz) at the Job Center which helps ex- cons find work. The dialogue makes it clear they've met before, but the narrative annoyingly withholds any connection to their past. Why is the beautiful, well-to-do Erika so drawn to this emotionally distant career criminal?

Ultimately, Johann returns to Vienna and combines his two true passions and what he knows best -- running and knocking over banks. His dominance on the marathon circuit gets him noticed, as does his daylight bank heists. Notoriously referred to as "Pump-gun Ronnie," after the Ronald Reagan mask he wears and the shotgun he brandishes. To this day, Rettenberger still holds the record time in the Bergmarathon, a world-famous marathon held in the Austrian Alps.

Frustratingly, we never really get a sense of who Johann is or what motivates him. He is expressionless, cold-hearted, and remains distant throughout. Heisenberg's treatment vividly communicates Rettenberger's neurotic defiance and destructive behavior, but that's no substitute for enabling the viewer to become invested in the character's fate. Johann does not let people into his life, and is a blank cipher as to why he leads the life of a bank robber. It is clearly not the money. Maybe it's the rush he gets, or maybe it is an unexplained obsession. The filmmaker leaves it for the viewer to decide. Although Heisenberg tries to suggest the robberies provide Johann with an adrenaline rush similar to that he experiences while running marathons, the character fails to show any sense of pleasure or catharsis that would make this parallel interesting.

Technical aspects of the film are highly impressive, and the incorporation of Johann into actual Vienna Marathon provides a real sense of authenticity. As a matter of execution, the film's last act is undeniably thrilling. Exceptional work by steadicam operator Matthias Biber gives all the chases and action sequences a visceral energy. "The Robber" could have been a great representation of compulsive behavior. As is, it is a rigid film that is technically sound with a fascinating lead protagonist we still know nothing about.