Toni Erdmann (C+ or 2.5/4 stars)
Heading into the Foreign Language race at this year's Academy Awards is the odds-on favorite, 'Toni Erdmann', a poignant, if mostly irksome, overblown dramedy written & directed by German filmmaker Maren Ade. Ade satirically tackles tricky father/daughter relationships, feminism, international capitalism, workplace sexism, & German arrogance. The film opens by introducing us to Winfried Conradi (Peter Simonischek), a divorced, semi-retired piano teacher who thinks himself a 'master of disguise'. He just lovvves confusing friends with fake teeth, wigs, whoopee cushions, accents & the like. After his beloved dog dies, Winfried {facing pangs of mortality} decides to rebuild his relationship with his only child, Ines (Sandra Hüller). She is a 30-something yr. old corporate-management executive, the icy cold type who instructs employers how to cut costs by firing people, and who's steadfastly constructing a career over in Bucharest, Romania.
And so, free-spirited Winfried heads off to Bucharest to surprise her -- JUST what she wants. Upon their 1st encounter, Ines is instantaneously furious & embarrassed when her dad starts in with his wig & buck-teeth; introducing himself to her colleagues as corporate life "management coach", Toni Erdmann. It's telling (thematically) that Ines' male bosses prefer her father's antics to what is referred to as Ines' feminist streak. "Toni" creates utter chaos in Ines' high-pressured business life. He shows up everywhere, with Ines' boss even suggesting that Toni accompany her on a site visit where she hopes a foreman will fire most of the employees so that she doesn't have to. Dad, of course, makes nicey-nicey with them; then diverts his daughter to a friend's house to celebrate such things as egg painting & singing. We see how Ines is beginning to come around from her cold, clinical demeanor when she lets loose with a rousing cover of Whitney Houston's "Greatest Love of All". And the movie's climax shows Ines throwing her own existential all-nude birthday brunch -- yes, you read that correctly.
I may need to give 'Toni Erdmann' another shot -- I likely will. That may sound insane given that it's a 162 minute long German film that didn't bowl me over the 1st time around. But this film has received such praise, and hasn't had too many detractors; though, I relish agreeing with those few dissenters. I just felt that this film was too long, too quirky-for-its-own good, too blah and, while it contains some very good performances ... I didn't care for the characters all that much.
I don't want to get too negative. Sandra Huller deftly portrays that kind of stoic, 'all business-no play' career woman who's just trying to prove something to herself and to her mostly male counterparts. She's professional, and yet, we see the disappointments & inner-emptiness that subtly leeches out of her soul; it comes across onscreen, and is obvious to her concerned, free-spirited father. One example of her warped human connection is displayed in a bizarre sexual tryst she has with her lover, Tim {not gonna say what occurs, but ... eww!}. She's great, but again, I didn't really care for or about her Ines. Ditto the annoying titular character. Peter Simonischek seems to be one mischievous character! And I liked his character's care & concern for getting his daughter out of her own head. But I found "Toni Erdmann" - himself - to be a chore to experience. He's exhausting, annoying, & too pushy. Again, I feel the need to see this again to confirm my feelings.
Many critics & audience members will enjoy this strange dramedy about an estranged father & daughter trying to find understanding of each other & achieve catharsis in life. It's mildly interesting to watch Winfried try to humiliate his daughter in order to snap her out of her joyless, soulless lifestyle. Plenty of folks will fall for Toni's unique alter egos. But again, for me, the film is just too quirky & oddball for my tastes. Maybe there's something about the austere German film sensibilities that I couldn't pervade to give me a more positive experience. I admire writer/director Maren Ade's intentions & audacity. A Hollywood remake has now been announced starring Jack Nicholson (coming out of retirement!) & Kristen Wiig. Perhaps I'll find something more/else in that version. Maybe not. I just feel like I missed the boat on this one. Too long, too many extraneous dialogues, too nutty. The positives are THERE, but they just didn't coalesce for me this time 'round.
And so, free-spirited Winfried heads off to Bucharest to surprise her -- JUST what she wants. Upon their 1st encounter, Ines is instantaneously furious & embarrassed when her dad starts in with his wig & buck-teeth; introducing himself to her colleagues as corporate life "management coach", Toni Erdmann. It's telling (thematically) that Ines' male bosses prefer her father's antics to what is referred to as Ines' feminist streak. "Toni" creates utter chaos in Ines' high-pressured business life. He shows up everywhere, with Ines' boss even suggesting that Toni accompany her on a site visit where she hopes a foreman will fire most of the employees so that she doesn't have to. Dad, of course, makes nicey-nicey with them; then diverts his daughter to a friend's house to celebrate such things as egg painting & singing. We see how Ines is beginning to come around from her cold, clinical demeanor when she lets loose with a rousing cover of Whitney Houston's "Greatest Love of All". And the movie's climax shows Ines throwing her own existential all-nude birthday brunch -- yes, you read that correctly.
I may need to give 'Toni Erdmann' another shot -- I likely will. That may sound insane given that it's a 162 minute long German film that didn't bowl me over the 1st time around. But this film has received such praise, and hasn't had too many detractors; though, I relish agreeing with those few dissenters. I just felt that this film was too long, too quirky-for-its-own good, too blah and, while it contains some very good performances ... I didn't care for the characters all that much.
I don't want to get too negative. Sandra Huller deftly portrays that kind of stoic, 'all business-no play' career woman who's just trying to prove something to herself and to her mostly male counterparts. She's professional, and yet, we see the disappointments & inner-emptiness that subtly leeches out of her soul; it comes across onscreen, and is obvious to her concerned, free-spirited father. One example of her warped human connection is displayed in a bizarre sexual tryst she has with her lover, Tim {not gonna say what occurs, but ... eww!}. She's great, but again, I didn't really care for or about her Ines. Ditto the annoying titular character. Peter Simonischek seems to be one mischievous character! And I liked his character's care & concern for getting his daughter out of her own head. But I found "Toni Erdmann" - himself - to be a chore to experience. He's exhausting, annoying, & too pushy. Again, I feel the need to see this again to confirm my feelings.
Many critics & audience members will enjoy this strange dramedy about an estranged father & daughter trying to find understanding of each other & achieve catharsis in life. It's mildly interesting to watch Winfried try to humiliate his daughter in order to snap her out of her joyless, soulless lifestyle. Plenty of folks will fall for Toni's unique alter egos. But again, for me, the film is just too quirky & oddball for my tastes. Maybe there's something about the austere German film sensibilities that I couldn't pervade to give me a more positive experience. I admire writer/director Maren Ade's intentions & audacity. A Hollywood remake has now been announced starring Jack Nicholson (coming out of retirement!) & Kristen Wiig. Perhaps I'll find something more/else in that version. Maybe not. I just feel like I missed the boat on this one. Too long, too many extraneous dialogues, too nutty. The positives are THERE, but they just didn't coalesce for me this time 'round.