Oh Boy

There is a theme in the movie and I'm not talking about the growing up part. I'm talking about the part where the lead character has to make decisions. Which he is unable too. You could argue, that is part of growing up, but it's just a theme that runs through many people and will touch a nerve.

Of course the one thing our lead character wants, he doesn't get. There is always an obstacle, something that will not let him get it. For some that might feel symbolic (and the resolution this has or hasn't at the end of the movie might feel that way too), but that depends on how you view things. And that is something that has been done clever by the filmmaker here. Shooting in black and white is an art choice, but I feel it works for the general feeling of the movie

The title of this award-winning 2014 German film is a tease, since the protagonist spends the day the movie describes trying—and failing—to score a cup of joe. Would he had gotten it, and he might have been better prepared for his frustrating encounters with his girlfriends (present and possible future), his dad, the creator of an unintentionally hilarious performance art piece, and some drunken toughs, among others. As it is, he is "a victim of inertia," says Washington Post reviewer Stephanie Merry, a young man who has so far chucked his opportunities into an ocean of cool. Jan Ole Gerster's debut film, starring Tom Schilling as Niko (originally titled Oh, Boy), has created a likable if drifting protagonist and given him situations punctuated with absurd humor. You want Niko to pull himself together and for the sparks of empathy we see to flame into action. One of those flames occurs near the end of the film, when he hears a rambling, drunken tale that calls forth thoughts of people who really had it bad. Great musical score by Cherilyn MacNeil and The Major Minors.

"Oh Boy" is a special movie and a very German one too. We follow the protagonist Niko Fischer, played by a superb Tom Schilling, through an entire day in vernal Berlin. This day is filled with several episodes in which director Jan-Ole Gerster manages to portrait the various aspects of life in modern Berlin - whether its the Kafkaesque bureaucracy one has to deal with on a daily basis or the never-ending struggle to find normality in the midst of hipsterdom and self-proclaimed avantgarde attitude which makes Berlin so popular amongst party people all over the world.

What is more, Gerster even succeeds to weave Germany's grim past into the story-line by reminding the viewer every now and then how pointless and redundant many aspects of our lives are in comparison with the unatoned horrors committed by Germans on their own turf and all over Europe.

Niko Fischer can be seen as the conscience of those of us who cannot help but deal with what it means to live in Germany and be a German on a daily basis. It might be even difficult to understand the movie in its wholeness for a foreigner as it is with literature by Hesse or Kafka, authors that largely contributed to this piece by making hilarious absurdity and tragedy confluent. The club toilet scene with Niko's schoolmate is key here and has almost Freudian dimensions.

Anyhow, I highly recommend watching this film, last but not least because I tremendously identify with it.

Whilst the nouvelle vague phenomenon continues in NY, it's seems Berlin, and Jan Ole Gerster actually has something to say.

At times comedic, at times serious, the writing is wonderfully wry and reminiscent of Woody Allen's darker moments. The tension between the black comedy and the underlying backdrop of Berlin's inescapable history is a knife edge Jan treads with the delicacy of a master.

Berlin looks fantastic in black and white, and the effortlessly understated cinematography and precise editing mean this film deserves all the hype that Frances Ha is getting and more.

Refreshing, and fresh this is an incredibly accomplished thesis film. And trust me, you can live without the trailer.

I did not expect to laugh. Germans aren't famousd for their sense of humour but I could not help laughing out loud a few times. Some scenes were so cringy it turned out to be the only appropriate response.

Nothing really happens during the movie : the main protagonist just goes on to live his meaningless life and interacts with a few broken people. Yet the sountrack, the script and the acting make for a fun and light drama if such a thing is possible.

So much better than « Oslo 31 août » even though both movies could be summed up in the same way: 24 hours in the life of a priviledged young man who wanders in a capital city, and whose existence got sidetracked a few years ago.

Despite these similarities, and despite the fact that the Norwegian version is melodramatic, the German one turns out to be more realistic and even more profound. Niko is more relatable and likable while Anders wallows in self-pity and selfishness.