Toto le héros

Jaco Van Dormael conjures up (he was a magician and a clown) one of those films that because of their formal beauty and intelligent content deserve to be seen more often but are not. The film is full of internal echoes, images that resurface under different contexts, and make you rethink them again and again (dare I say like in Citizen Kane?). As if that were not enough, there are many other resonances to genres and specific films that will make film buffs laugh with excitement: quotations to gangster films, to Hitchcock, to Bunuel, etc. are all there to be discovered and enjoyed. Alan Moore would be smiling at the construction of this beautiful crystal web that is the narrative of this film. See it and rejoice...

Take a deep breath... and dive... The movie is about to take you in a journey trough an extraordinary life... Not very overwhelming, one might say... but the story of "Toto le héros" is an unpredictable tale about a man who always thought he was nobody, and found at the very end of his life, that he was, in fact, a hero...

The very simple storyline is a sketch, for director Jaco Van Dormael, to elaborate a complex visual narration. Since we follow the main character, Toto, throughout his whole life, the movie is full of "time games". Van Dormael uses flash-back and leap in time to get away from a simple linearity. The aproach to dreams is very similar to Terry Gilliam's that we've seen in "Brazil" and "12 Monkeys".

"Toto le héros" is a touching film that will please the movie critics as well as the common viewers.

It is a chef-d'oeuvre...

Jaco van Dormael, I love you. When I first saw this film in a dilapidated arts cinema in Cambridge on a cold winter's night, I wasn't expecting much. The only review I'd read was mildly sniffy. It was French, it was about la condition humaine. I thought it'd be a reasonable way to pass a couple of hours.

When I emerged from that dark pit of a cinema, I felt, at least for a while, as if my eyesight had been transformed. As we walked back to my friend's flat, I became fixated on one thing after another - the rain upon the cobbles, the light on the church, the darkness of the sky - I felt about five years old all over again. Since then, this film has never been out of my top five. And probably never will.

That is not say it's perfect. It's message is perhaps a little too bleak for my liking, and it does indulge itself in the precept that life it utterly meaningless. But how the visuals of the film contradict that sentiment! Every shot filled with colour, with life, with imagination.

In a way, Toto is an old-fashioned film - a thriller in the Third Man/Citizen Kane mold - a complex story unfolding in a semi-linear fashion, in this case throughout one man's whole life. Dour realism this certainly ain't. A wonderfully naive 40s (?) style chanson reappears, as the adult 'Van Chickensoup' watches his dead father sing from the back of a truck in front of him. Flowers sway in time to the song. The child truly believes that his father met his mother by landing in the garden from a parachute. Scene after scene of joyful play follow each other.

But this is no art-house foppery. This is a tight, mean, well-constructed tale about the feeling that dogs us all - is this all life is? Could I have been happier as someone else? Are they happier than me? Am I lucky or unlucky? And most importantly, this: Why, when life seems so hard at times, can we find so much joy in small things, in a flower, or a kiss, or crazy weather, or new clothes?

Forget the French subtitles, a fact that seems to put off so many North American and British viewers, forget the 'art-house' tag. I own this film and have shown it to scores of friends, all of whom have walked away astonished at its vision. I assure you that you will love this film.

It's alright, you don't have to thank me, spreading the word is enough. ;-) Watch it today! And then watch the Eighth Day, Van Dormael's astonishing second feature.

A hearty recommendation for this film, which deftly kaleidoscopes time. Three actors portray one life at various age stages, through them we see the innocence of childhood and the guilt of autumn years are two sides of the same coign of vantage.

The creative imagination of the protagonist (and the director) are well framed...and it was reassuring that some of the magic that our hero, Thomas, felt as a child stays with him throughout his life, and this film.

Minor caveats for people who

1) dislike non-linear time in a film

2) voice-over narration

But the distinct actors/times make #1 no problem here, better yet the dissolves between them are often lyrical...and I think more accurate to how we remember our time in this world.

Reaffirmed my belief of the power in charged details (shoes in a closet, a pop tune, candy wrappers) and my faith in the beautiful complexity of a simple life.

Thomas, an elderly man lives in an old people's home. He's always been persuaded that he has been inverted with another baby called Alfred, during a fire at the maternity hospital. It means that he should have been Alfred, a wealthy and rough boy, cherished by his parents who fell in love with Thomas' sister, Alice. When he's a grown-up, he'll become a brilliant businessman whereas Thomas, him, will only live a dull and mournful life: his father will die early, he'll become a poor surveyor and when he feels love for a woman called Evelyne who looks like his late sister, Alice, he'll feel betrayed because Evelyne is Alfred's wife! His only way to escape from a destiny that is not the right one is to fancy himself as a secret agent (Toto le héros). So, in the old people's home, Thomas's got a sole idea: killing the "usurpator". Will he succeed in? For his first film, Jaco Van Doarmel showed cleverness, originality and talent. The movie is very close to Etienne Chatiliez's movie: "life is a long quiet river" but in this movie, everybody knew that the two babies had been voluntarily inverted and in Doarmel's film, Thomas remains the only one to be persuaed of being inverted. One of the feats of the film is that it never asserts this hypothesis. We see the fire but we don't know if the intervertion really happened... The movie works like a puzzle as Thomas's thoughts and memories pass by and it links several characters, in different places, at different times. It enables to reconstruct Thomas' bitter life. In parallel, you never lose the thread of the plot (Thomas aims at avenging himself against the one who stole his life). The film abounds in visual brainwaves and is very well served by a watertight screenplay. Moreover, there's an amazing contrast between Thomas's bitter life and Alfred's one (which would be Thomas's real life) that is cherished and successful. But, in the end, Alfred isn't as dreadful as he seems, because I noticed that when he was old, he seemed upset. He's probably marked by Evelyne's departure and don't forget that he's tracked down by terrorists. Always right and agile, the movie, sometimes, succeeds in creating touching moments( when Thomas discovers that Thomas's wife is Evelyne, the woman he loves). At last, Michel Bouquet is excellent in his role of tormented and disillusioned man. Like "eraserhead" by David Lynch, in another register, "Toto le héros" rank among the movies that you must see rather than telling it because it can be seen on several levels.