Saturday March 18, 2017
Movie Review: A Man Called Ove (2016)
Ove (Rolf Lassgård) is the quintessential grumpy old man with a heart of gold—Swedish version. He’s a widower who spends his days nitpicking over minor violations in block association rules, visiting his wife’s grave, and trying to kill himself. The neighbors keep interrupting these attempts to ask for favors. They keep blithely assuming he’s a sweetheart even though he’s shown them nothing but contempt.
It works. During the course of the movie, amid his grumblings, Ove: helps his new neighbors back their trailer into their driveway, loans them a ladder, drives them to the hospital, babysits their kids, fixes their dishwasher, teaches the Iranian wife to drive, repairs a bike, takes in a stray cat, takes in a gay kid who’s been kicked out by his homophobic dad, and saves the life of a stranger about to be run over by a train.
Then in the final showdown, he rallies the neighbors to prevent social services from taking Rune (Börge Lundberg), his onetime friend and rival for block association president, now wheelchair-bound after a stroke, and placing him in an institution against his and his wife’s wishes.
With grumpy old men like this, who needs friends?
You see early on where the movie’s going, and it gets there without many surprises. It’s about simple joys, loves, lives. Tragedy keeps intersecting with joy, but none of it feels particularly real.
- Tragedy: His father is proudly showing his teenage son’s grades around the railyard when he gets run over by a train.
- Heroism/tragedy: Shortly thereafter, he runs into a burning building to save his neighbors’ lives but gets no praise or backslaps, simply a sneer from social services, the villainous “Whiteshirts” of his imagination, who allow his own home to burn to the ground because they’re going to demolish it anyway.
- Joy: Now homeless, sleeping on a train, he runs into a beautiful, intelligent woman, Sonja (Ida Engvoll, looking like a “Twin Peaks”-era Sherilyn Fenn), and she does most of the heavy lifting to get them to the altar. What does she see in him? Who knows? He’s a tall hayseed, not particularly attractive, who can barely string two words together. But the movies are the movies.
- Tragedy: In a tour group in Spain when she’s six months pregnant, the bus goes over an embankment and Sonja loses the baby and the ability to walk.
- Overcoming tragedy: Denied teaching positions because she’s in a wheelchair, Ove builds a ramp in the rain that finally gets her the job.
None of it is grounded. The tragedy isn’t painful, the joy isn’t uplifting. It’s not life; it’s life packed in styrofoam peanuts.
There’s a kind of connective tissue between the tragedies and his old-man persnicketiness, since if people had simply been more careful most of the tragedies could’ve been avoided; but it’s not deep. There’s a kind of humor in the world’s various intrusion into his many failed attempts to kill himself, but it wears fast.
I did have one moment of true joy watching the film. Ove is reminiscing about first meeting, and discovering a kindred spirit in, Rune. Both are sticklers for block association rules, neighborhood enforcers who chase after scofflaws, and on their way to a great friendship. “Until,” Ove narrates, “we finally discovered the small difference.” Then we get a scene where young Ove, his face a mixture of confusion and betrayal, realizes Rune prefers Volvos to Saabs. That was brilliant. I laughed so hard at that.
But there wasn’t enough of it. I’ve heard the novel is better, as novels tend to be.