A Man Called Ove

For some time, I’ve wondered why Fredrik Backman’s Swedish novel A Man Called Ove, a huge international bestseller, has captured so many imaginations. Having watched the film adaptation, which hits DVD in America next week, I think I know. Which is not to say it deserves all those imaginations, or knows what to do with them. The film stars Rolf Lassgård (Wallander) as Ove, an irascible widower pushing sixty and yearning to follow his wife Sonja, who died of cancer six months ago. Ove tries various methods of suicide, but life — in the form of his neighbors — keeps intruding. This wounded old man must, of course, learn how to rejoin the human community. And that’s about all there is to it.

The movie jerks its tears tastefully; there’s a minimum of schlock, because the tone takes its cue from the film’s astringent, taciturn protagonist. There seems to be a trend in recent Swedish pop culture to lionize the grouchy and rumpled; witness the success of the novel The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared and its film version, or for that matter the detectives Wallander and Backstrom and many others. Ove slouches through the Swedish chill and fog, growling at everyone he looks at, lording it over his condo association, browbeating clerks and youths and, at one point, a clown. He’s the sort of joyless asshole who can only be enjoyed from a distance — men like him make life hell for retail workers the world over.

Of course Ove has a lot of pain in his past to explain his behavior. (So do the targets of his scorn, quite likely, but the movie isn’t interested in that possibility.) He grudgingly — always, in these movies, grudgingly — forms a bond with a new neighbor, Iranian immigrant Parvaneh (Bahar Pars), who has two cute-as-a-button daughters and is carrying a third baby. In no time he’s giving her driving lessons as well as agitating for the rights of a disabled friend and taking in a young gay man whose father has disowned him (this plot thread gets forgotten).

In this construction, a man filled with rage and despair can be healed by the warm touch of the well-meaning. (Ergo the story’s popularity from sea to shining sea.) Fredrik Backman packs his narrative with neatly relevant thematic elements, and the movie, adapted and directed by Hannes Holm, tries hard to include them all. The block association that Ove dominates and resents comes together to help him. Even a foofy old fussbudget of a cat follows him around. It’s as though dear departed Sonja had arranged for a micro-society to close ranks around her husband and keep out that Swedish cold and angst.        

People have fallen for the book and will fall for the movie. It could be worse. The film’s flashback structure is smoothly fastened together by editor Fredrik Morheden, its present-day gloom and past-glory color clearly captured by cinematographer Göran Hallberg. Bahar Pars is appealing as the voice of life, and Lassgård anchors the movie with his sad, churlish gravitas. But things are made a little too pat (for instance, Sonja is a bit idealized, and the subplot about Ove’s trying to keep his disabled friend out of a home lacks credibility), which makes this entertainment, not art, and simplistic, familiar entertainment at that. A Man Called Ove is harmless, I suppose, except for its assurance that all a miserably suicidal person needs is a family of friends. Well, the many grieving friends of the many depressives who have attempted suicide — and succeeded at it, not semi-comedically failed — might beg to differ with that diagnosis.

Hidden Figures

All things considered, Hidden Figures wraps some fairly radical themes — three African-American women entrusted with important NASA jobs at a time (1961-1962) when Jim Crow was still the law of the land — in a largely unradical package. Whistle-clean, one of the few modern films to get an uncomplicated PG rating, the movie hits all the standard biopic beats. For every scene enlivened by the retro R&B of Pharrell Williams, there’s another in which Hans Zimmer’s strings try ineffectually to pluck at our heart’s. It was made, seemingly, to be shown in schools.

Which is not necessarily a bad thing, and Hidden Figures is affecting in ways that a less squarely conceived movie couldn’t be. It is a balm of sorts in a world in which women, people of color, and even the sciences will likely be respected far less in a few weeks. Based on a book by Margot Lee Shetterly, the movie tracks three NASA employees — math genius Katherine Johnson (Taraji P. Henson), unofficial computer supervisor Dorothy Vaughan (Octavia Spencer), and engineer-to-be Mary Jackson (Janelle Monáe) — as they face racism and sexism while slowly getting to the point where their efforts help John Glenn circle the earth. (Sadly, Glenn passed away last week, probably without getting to see himself played by Glen Powell, a blonde hunk in the Chris Evans mold.)

A white male hand passes a piece of chalk to a black female hand: the image succinctly says everything important Hidden Figures wants to say. The white man confers whiteness — importance, credibility — on the black woman. Near the end, though, a white male hand brings coffee to a black woman, as is her due. (A cynic might say, sure, give the black woman caffeine so she can continue to help white men go into space; it was 1983 before the first black man hit space, 1992 before the first black woman did.) The movie speaks of a country where a lot of things are about to flip; we get a few glimpses of the battle for civil rights. The mostly white male NASA environment is a little more enlightened than the general population, but only a little; Katherine has to run to a separate building to use the “colored women’s” bathroom.

Kevin Costner passes the chalk; this actor keeps trying to bridge the gap between races, but here, at least, he brings an edge of gruff pragmatism to it. His character, a composite NASA manager, needs a math genius who can think outside the box, who exists partly in the future, and Katherine is it. Katherine, though, is no John Nash or even Sheldon Cooper (Jim Parsons plays a sizable role in the film, as persnickety as Sheldon with a side order of racist-sexist disdain). Katherine is conceived as basically a normal woman with normal tastes and desires; I didn’t see a lot of continuity between her home life (widowed with three daughters) and her work life. She’s supposed to devise “math that doesn’t exist yet,” as per Costner, and she also uses ancient math; she’s not only a math savant but a math mystic, yet Taraji P. Henson isn’t encouraged to give her any quirks or sharp edges or even nerdiness. The same goes for Spencer and Monáe; these freakishly gifted and self-possessed ladies don’t have the stubborn oddness that many people at their intellectual level might have.        

Again, though, depth of portrait isn’t really on the movie’s agenda. Hidden Figures exists primarily to pay tribute to the space race’s forgotten heroes, secondarily to inspire. I don’t quite have it in me just now to come down on a film, however narratively conventional and artistically inert, that prizes the intelligence and strength of black women and the gains made possible by math and science. The Daily Beast has already called it “the movie Trump’s America needs to see,” which I suppose is true, though it’s also a relic of Kennedy’s America by way of Obama’s America, and in the chalk being passed you can almost see the line being drawn between Jack and Barack.
       

The Love Witch

Every frame of Anna Biller’s The Love Witch is lavishly loved and fussed over, and every frame is unquestionably Anna Biller’s: she directed it, produced it, wrote the script, edited it, designed the sets, handmade the costumes, and composed the music. The movie has a luscious dreamlike look, too, shot (by cinematographer M. David Mullen) on 35mm in radiant tribute to the Technicolor Euro-horror of the ‘60s. I would love to award it high marks in areas other than the purely technical, but the troublesome truth is that The Love Witch, while stubbornly idiosyncratic and unmistakably a vision, is also dawdling and hollow and kind of awful, really — difficult to sit through, once the creamy visuals lose their novelty. It’s a long two hours, and it could have been worse: “If I had not cut any lines out and I just kept it the way it was in the script,” Biller has said, “it would have been three hours.” Jesus wept.

The narrative, such as it is, follows lonely witch Elaine (Samantha Robinson) as she sets herself up in a new town and goes about finding men to seduce and lure to their deaths. There’s a good deal of talk about how men and women differ, and all the men are blinkered or pathetic or both, which may be what the film’s supporters are talking about when they call it “feminist.” Elaine does seem to be trapped, stylistically as well as in the script’s context, in a reality in which she is defined solely by her appeal to men and her power over men. But it’s Anna Biller who traps her there, and I couldn’t work out how the polymath director felt about her heroine or her struggles. Biller seems content to photograph the externals.

Some of the movie comes close to camp or just falls in, as when Elaine is assaulted by former friend Trish (Laura Waddell in the film’s only genuine performance), whose husband Elaine has stolen. “Skank! Whore!” Trish yells, slapping Elaine while wearing a wig cap — the movie helpfully provides its own drag-show re-enactment. A sequence in which Elaine is confronted in a bar by a mob of superstitious goofballs (“Burn the witch!”) is frankly terrible and staged with incredible clumsiness. The Love Witch will be worshipped as a fetish object by a certain breed of film nerd who luxuriates in its DIY retro aesthetic, but it isn’t really a movie — it would have to move first, and the pacing is leadfooted. The plot’s pairing Elaine with a stolid detective (Gian Keys) just leads to a handfasting scene at a local ren faire that seems to go on for six, maybe seven years.

I wonder if any of the hipsters cooing over the film have seen George A. Romero’s 1973 effort Jack’s Wife (also known as Hungry Wives or, on video, Season of the Witch). It tells a bleak and discomfiting story about an abused wife who finds, she thinks, acceptance and family in a coven. Romero’s film is technically uneven but feminist in a way The Love Witch isn’t — it grapples with reality vs. ideals, and ultimately presents its heroine as trading one form of domination for another. The Love Witch isn’t nearly as complex or, really, as dramatic. It seems transfixed by its star, who acts in the same arch, artificial manner everyone else does (and I wish Biller had been as obsessive about the sound as she was about other things in the production — the dialogue sounds tinny, hollow, amateurish).      

Truly, witch narratives can get deep to the heart of this country’s Puritanical weirdness about women and the Other. Robert Eggers’ masterful The Witch, from earlier this year, carries an oblique (and therefore more powerful) charge of blasphemy and transgression against patriarchal force. But The Love Witch has no inner life, no deeper meaning beneath its attractive surface. People will appreciate it, if they do, on an aesthetic level or even an ironic one, but I don’t anticipate it touching anyone’s heart in the way that even teen junk like The Craft did twenty years ago. Its smug, lacquered beauty walled me off from feeling anything about it except impatience.