Portrait of a self-destructive narcissist
German film director Tomas (Franz Rogowski) and his British commercial artist husband Martin (Ben Whishaw) have been together for 15 years ...quite an achievement, I'd say, given just how immature, capricious and utterly self-obsessed Tomas routinely shows himself to be. Pretty much the only glue holding them together appears to be the fact that, whatever else may have gone stale between them, the sex is still good.
Although the script never explicitly mentions it, it would appear that theirs is an exclusive marriage: i.e. There are no intimations given to suggest that it's an open relationship, in which permission to "play away" has been agreed - so when, out of the blue, Tomas finds himself intensely attracted to a 20-something female schoolteacher called Agathe - an attraction he pursues with typically impulsive selfishness and no regard for anybody's feelings but his own - the impact on Martin (and, in due course, Agathe) is just as seismic as you'd expect.
Essentially what we have here is a portrait of a narcissist, in thrall to his own impulses, manipulative and duplicitous when it suits his purpose, and incapable of facing up to the consequences of his actions. Tomas is a study in arrested development: emotionally he's barely more than a toddler - a little boy who, on seeing a shiny new toy, must have it, and cannot understand why everybody else can't just go with his flow and let him have his way.
It's a tough challenge to play an unlikeable character and still keep your audience invested in them, but Rogowski pulls it off superbly, showing us that Tomas is as much a victim of his destructive personality traits as is everyone else who falls foul of them. As much as I despised Tomas's behaviour, I couldn't help but find myself feeling sympathy for his damaged soul. In that final night-time bike ride through Paris - having lost, by his own actions, everything of genuine value - he is truly heading nowhere.
Addendum: In the course of this movie I learned a frankly jaw-dropping, thing - that, in the 21st century, French schools have appallingly lax security: apparently any random stranger can get on the premises and barge into a classroom!
Although the script never explicitly mentions it, it would appear that theirs is an exclusive marriage: i.e. There are no intimations given to suggest that it's an open relationship, in which permission to "play away" has been agreed - so when, out of the blue, Tomas finds himself intensely attracted to a 20-something female schoolteacher called Agathe - an attraction he pursues with typically impulsive selfishness and no regard for anybody's feelings but his own - the impact on Martin (and, in due course, Agathe) is just as seismic as you'd expect.
Essentially what we have here is a portrait of a narcissist, in thrall to his own impulses, manipulative and duplicitous when it suits his purpose, and incapable of facing up to the consequences of his actions. Tomas is a study in arrested development: emotionally he's barely more than a toddler - a little boy who, on seeing a shiny new toy, must have it, and cannot understand why everybody else can't just go with his flow and let him have his way.
It's a tough challenge to play an unlikeable character and still keep your audience invested in them, but Rogowski pulls it off superbly, showing us that Tomas is as much a victim of his destructive personality traits as is everyone else who falls foul of them. As much as I despised Tomas's behaviour, I couldn't help but find myself feeling sympathy for his damaged soul. In that final night-time bike ride through Paris - having lost, by his own actions, everything of genuine value - he is truly heading nowhere.
Addendum: In the course of this movie I learned a frankly jaw-dropping, thing - that, in the 21st century, French schools have appallingly lax security: apparently any random stranger can get on the premises and barge into a classroom!
- ella-48
- Sep 5, 2023