Ober

Other than a bit of editing anomalies in the beginning, I have no complains about this film. Other AVW's film that I saw previously was "Grimm" and that was exceedingly refreshing. Obvious that comparison will be made with other movies of similar theme. But I don't think I can give too much away except it is fun, funny, surrealistic, yet true to the "characters" of the film.

the story is like Stranger than Fiction, but better - welllll.. my preference anyhow. It's done in deadpan style - leaving the exploration and the enjoyment - to the audience.

The film is low budget (if you compare to Hollywood) but well crafted with "situations", "scenes", shots and dialogue. There are times, some scenes seem slightly awkward, but in the back of your mind, because you know the situation, you understand the reason why these scenes seem awkward.

Now I really have to see "The Dress"

WAITER (Alex van Warmerdam - Netherlands/Belgium 2006).

Alex van Warmerdam is the writer, director and star in this original and wickedly funny black comedy, that really made me laugh with tears. The opening film at the Dutch Film Festival 2006 in Utrecht last week and almost unanimously greeted as some kind of dark comic masterpiece. Interesting trailers suggested a very inventive script as well and with a cast consisting of some of my favorite actors, Mark Rietman in particular, I went to see this with towering expectations. Well, I wasn't disappointed. It's hard to compare van Warmerdam with any other filmmaker in contemporary Dutch cinema, but this certainly was the funniest Dutch film I've seen in years.

Fifty year old Edgar (Alex van Warmerdam) is a sad-sack ober (a waiter) in a type of spacious unassuming restaurant that doesn't seem to exist anymore since the early eighties. He divides his time between needy mistress Victoria (Ariane Schluter) and his bed-ridden wife (Silvia Poorta). Since he has been a waiter for 25 years, he has lost interest in his work in every imaginable way. His life as a waiter consists of being assaulted by customers, either arrogant businessmen, or his mistress, who also frequents the restaurant on a regular basis and even demands his attention when he's working. One evening, when Edgar is given a beating by a bully customer (Pierre Bokma) he suddenly appears at the door of a writer and we find out all the action up until now has been the work of screenwriter Herman (Mark Rietman). Edgar demands Herman writes him a more assertive character and wants a mistress he really cares for. Well, he gets it, but with every new turn Herman writes, Edgar gets deeper into trouble and soon, every character in the story turns up at his doorstep, demanding a better life. Subsequently Edgar's life becomes a bizarre string of occurrences with neighbours who turn out to be professional (Russian?) criminals (who also like to throw their garbage in his backyard), adultery, three-cornered relationships, suicides and murder.

Van Warmerdam gives such a deadpan performance, it makes Jon Heder in NAPOLEON DYNAMITE look like some ferocious method actor. And watch out for Fedja van Huet. He contributes to some laugh-out-loud moments as Victoria's brother, who forces Edgar to give his sister a second chance during a dinner. I never realized he could make me laugh in such a way. A real hoot!

I feel I don't do justice to this film by looking for some arguably comparable and perhaps better known filmmakers, who are true originals in themselves, but how to describe this unique film to many non-Dutch who are not familiar with his style? Charlie Kaufman style meta-fiction meets Aki Kaurismaki, Jarmusch, and (the early) Woody Allen, combined with Van Warmerdam's keen eye for delivering visual comedy, it's hard to imagine anybody else could have pulled it off so well. I think it's his cinematic sensibility in visual comedy what makes van Warmerdam such a unique filmmaker. His films - and this one is no exception - are so truly his own, it's hard to imagine he's been influenced by anyone at all.

Just a touch short from hitting the bulls-eye completely, because it could have held back a little on the comedy element at times, it seems to be straining for effect in some scenes. About halfway the film takes a somewhat sharp left-turn towards slapstick. When the audience was still recovering from the last laugh, some "real dramatic" scenes played out, which tended to lose its impact because of the machine gun-paced bombardment of comic scenes before and after these scenes. When Edgar decides to buy a bow and arrow in some strange shop (with Rene Groothof dressed up as a woman!) it becomes a bit too much. Sure, it's very funny, but didn't seem to belong in this film.

But what a treat this was, with stunning photography and beautiful locations. I'm sure this is a film that audiences in other countries should enjoy as well. The film will probably be released in Canada (was already shown at the Toronto Filmfestival) and in the U.S. under the title WAITER.

Camera Obscura --- 9/10

I watched this movie yesterday evening. First of all: too bad there was a break, we were just reaching the point where I started wondering whether there would be a happy or a tragic ending. It was remarkable there were almost no scenes in broad daylight. It also struck me the restaurant was almost empty. The atmosphere resembled somewhat the paintings of Dennis Hopper. If you would have told me the story was located in the 50's, I would immediately have believed that. In a way, the story is timeless, and though we are in a city, it is completely unimportant which city this is. You see Edgar one or two times in a tram from the Hague, but you see so little of the city, you don't have the idea the Hague is the location for this movie. The humor is wonderful, many times characters overreact, with as result principal characters end up in funny situations. If you recall the British comedy Fawlty Towers, and like the character of Basil Fawlty, you know what humor to expect.

Most films about human life's ordinary characters are able to charm audiences as they depict the true feelings of human beings. Dutch film 'Ober' is one such film which succeeds enormously as it has chosen a very good theme. It is in the form of the depiction of a waiter who can be hailed as the most ordinary of all ordinary people. Director Alex Van Warmerdam is able to add extra strength to his film by playing the leading role. As the film begins, Alex is shown to bear all insults with utmost coolness and fortitude. However, as the film progresses, Alex decides to ask tough questions about his fate. This situation gives rise to a series of hilarious encounters with screen writers who exercise absolute control over their characters and their fates. In the field of art, an artist is given complete control to develop the characters. One must nevertheless ask the most pertinent questions : Who controls the life of a character ? Is it the character himself/herself who controls his/her destiny ? Does the character have an independent existence ? These questions do not have simple answers as a lot of subjective perspectives do come into picture. Director Alex Van Warmerdam makes a good try at answering them in his film "Ober". His film is a poignant plea for respecting all human beings regardless of their foibles.

I am pleased to report that Alex van Warmerdam's "OBER" was well received by the audience at yesterday's Toronto International Film Festival screening. Spectators can be fickle at 9:45 a.m., and it is a testament to the director's talent that his film elicited a laugh-out-loud response from beginning to end.

I tend to be skeptical of films from the Netherlands. I'm no philistine, but I have encountered several movies from this region that I can only describe as "weird." Now, I won't claim that there aren't unusual elements in this film, but they are employed in the service of comedy rather than abstraction.

Warmerdam, himself, plays Edgar, a middle-aged waiter who suffers through confrontations with his belligerent customers, unruly neighbours, his chronically ill wife, and his demanding mistress. Warmerdam's dead-pan performance is so consistent that the passivity that defines his character is not compromised when Edgar visits Herman, the screen-writer who is controlling his destiny; he is simply worn out, and has come to request, not demand, that his life might be propelled in a more agreeable direction.

Herman concedes, but as any screen-writer will attest, a compelling narrative requires conflict. The various fates that are in store for Edgar are, yes, unusual at times, but the comedy is particularly strong in this film because each trajectory is so "unexpected." Another festival film this year is "STRANGER THAN FICTION," (w/ Will Farrell & Dustin Hoffman) which has a similar premise. It was sold out before my tickets were assembled, so I can't assess whether or not it is as successful in its execution as OBER. I do feel, however, that Warmerdam's film has the potential to satisfy a wider audience than it will ever encounter, and I would urge people to seek it out. It is a film with great depth, but it needs to be emphasized that, first and foremost, OBER works as an accessible comedy that even the most skeptical movie-lovers will enjoy.