O’ Horten (2007)
★★★ / ★★★★
Odd Horten (Baard Owe) reached the magic number 67, the point in which was to retire from his job as a locomotive engineer that lasted for over forty years. He wasn’t quite happy about the transition because his career was all he had. His friends (Henny Moan) were on the road which meant he wouldn’t see them as often. It seemed like he didn’t have a family other than his mother (Anette Sager) who was in a nursing home. It also meant breaking his coveted routine in order to find new and exciting turning points that served as reminders that life was worth living. Written and directed by Bent Hamer, the film’s greatest weapon in its arsenal was finding a great sense of humor in the mundane. Without an exact vision and a controlled direction, “O’ Horten” would have failed to gather enough emotional punch to get its audiences to care for Odd, ironically named because nothing too odd happened in his life up until his retirement. Instead of going for the easy laughs, it wisely chose to restrain. For instance, when Odd was locked out of the building, in order to reach the party his friends and colleagues threw for him, he had to climb the apartment building and sneak into a family’s home. Odd crossed paths with a child (Peder Anders Lohne Hamer) who couldn’t sleep. If the picture had been Americanized, I could imagine the main character being caught by the boy’s parents, suspected of malicious intent, and scrambled his way out of the apartment as he tripped over toys (or, since Odd was an aging man, maybe he would have slipped and hurt his back because older folks getting hurt was supposed to be funny). Instead, he didn’t get caught. There were no surprised parents and toys near the doorway that served as traps. There was only Odd staying with the boy until he went to sleep because the boy asked him to. As Odd sat on the chair, he was left with his thoughts. We didn’t necessarily know what he was thinking. He could be thinking about his retirement and what he planned on doing next. Or maybe thought about why he didn’t have a family of his own. The next scene was equally compelling. When he visited his mother in a nursing home, his mother didn’t utter a single word. But she didn’t have to. The drama was innately there. There was something heartbreaking about a son attempting to communicate with his mother but she didn’t seem to understand what he was trying to say. It reminded me of the times when I used to volunteer at Alzheimer’s care homes. Sometimes an unreciprocated affection is enough for us to become emotionally invested. “O’Horten,” with an inspired photography, had oddities but it didn’t allow the absurdities get in the way of shaping a defined emotional core. I think it’s something special when a film is set in a cold locale yet it’s able to exude immeasurable warmth.