Dome Karukoski 2014 Finland
Starring: Antti Litja, Petra Frey, Mari Perankoski, Iikka Forss, Viktor Drevitski, Kari Ketonen, Mikko Neuvonen
In the case of Dome Karukoski's latest film the title is more than just a simple header or decoration (often changed post-production, and even post-release, to best suit the particular country, culture or perceived audience the production company are aiming at). Here it's the name of the lead character, or at least the only name given and the one used to refer to him in the credits. Frankly 'The Grump' doesn't really cover everything going on here, the direct translation of the original Finnish title Mielensäpahoittaja is the not exactly catchy 'the man who gets upset at things' but that too is deficient. The protagonist is an elderly farmer living alone in the house he built with his own hands; his wife, The Missus, is still alive but in a care home suffering from dementia and no longer recognises him when he faithfully goes to feed her. He has his exactly-timed, slightly obsessive routines, takes coffee at set intervals, doesn't want it if something delays him by 15 minutes. He's content with his life as it is but, after an accident, has to go to Helsinki to stay with his son's family, it being a mildly less objectionable option than being bedridden in hospital. They're quite possibly even less thrilled about the idea than him and the resultant culture-clash is the chief story of the narrative, the distressing battle taking place between the Grump's manly, country traditions (where he is master, law and always right) and his son's technologically advanced city lifestyle. The son (whose name we also don't learn) is a househusband whose wife is a successful executive with international connections, a huge salary and a forceful manner. The Grump is repressed, terrified of sex, doesn't trust the news anchor on their TV, reads the manual of his beloved Ford Escort for entertainment. It's not that he can't understand their world it's that he never even considers it valid, in fact there's not a single thing about them he doesn't think he could improve, often he attempts it without asking their opinion, perhaps not even considering that they have one, certainly not that theirs could be right. He still prefers them to his other son though, forever consigned to a collection of backhanded comments because he's committed the unforgivable crime of having moved to Belgium. Within minutes of being left alone he disregards his leg injury and is up a ladder cleaning the gutters, they tell him they have them cleaned seasonally by a professional but he insists his son should be doing it, it being the man's job. Later he wants to chop down the tree in front of their house, caring little that he needs a permit or that they don't want it removed. When his daughter-in-law takes him with her to collect Russian clients from the airport, knowing she can't risk leaving him alone in her house, he asks her in a panic whether she has checked if they're KGB, chides her for telling them her real name (ironic as he constantly refers to her as "the young Missus", denying her any personality other than that which he has given her). His xenophobia and misogyny would render him impossible to relate to and even downright horrible if it wasn't for Antti Litja's sincere performance, honed on the radio plays that introduced the character. The film's deadpan comedy too may be difficult to take if it wasn't so skilfully and authentically constructed, a couple of rare dramatic moments are likewise delicately placed and organically built, showing the Grump to be simply stuck in ways he doesn't realise are no longer acceptable rather than truly bad. A trusting encounter with a homeless man meanwhile reveals that he can be both warm and naïve and his befuddled consideration of a Moomin bedspread is a moment of poised brilliance. His inevitable redemption however feels sudden and, while his way of life is pleasingly presented as still valid although in need of flexibility, his acceptance of the idea that other modes of existence than his own may work for other people appears to dawn on him from nowhere and change him within a matter of seconds. Perhaps that works better within the sentimentality of the cinema but it's hardly realistic, particularly in comparison to the convincing scenes it follows.
No comments:
Post a Comment