“It is what it is,” says the dying woman to her young son, “and it will be what it will be.” That’s as apt a mission statement as any for the Swedish comedy The 100-Year-Old Man Who Climbed Out the Window and Disappeared, in which the young orphan grows up to be Allan Karlsson (Robert Gustafsson), the titular centenarian. Allan drifts through the decades in a narrative that flips between past and present, bringing him into contact with Franco, Stalin, Oppenheimer, Truman, Reagan, and Einstein’s less intellectually gifted brother Herbert.
About all that links the historical anecdotes is Allan and his fixation on blowing things up, which endears him to warmakers the world over. Allan has no politics, though. He just likes to make things go boom. He’s a bit of a moral imbecile, which in this darkly shaded epic satire qualifies him to last out the 20th century. In the present-day sections, Allan has been cooling his heels in a retirement home after blowing up a fox that killed his cat. He can’t bear to face his 100th birthday in this place, so he just leaves, picking up a mob-owned suitcase full of cash along the way.
It doesn’t occur to Allan to turn the money in to the authorities; he and his new friend Julius (Iwar Wiklander) just decide to keep it, and the low-level gangsters who come after it tend to die in comical ways (accidentally frozen, sat on by an elephant) that Allan can’t be held responsible for. Allan just continues to drift, untroubled, through his newly eventful life. The stakes don’t seem very high, but I guess that’s what makes this a comedy. We never worry about Allan or his acquaintances. Director Felix Herngren keeps the tone deadpan and absurdist, which I suppose is more palatable than heartwarming and sentimental. Allan is never softened for our consumption, and Robert Gustafsson, a massively popular comedian in Sweden, gives Allan a lackadaisical, shrugging vibe throughout his often violent encounters.
I laughed a few times, but the movie didn’t leave me with much, possibly because it sets itself up as satire but then has nothing much to say. It’s not enough to goof on historical events and their famous players; then you just have farce. Again, a man with little regard for human life — he looks at the atomic bomb as just another thing that goes boom — is being positioned as the great winner of the 20th century, but that seems to be all that’s going on under the hood. We’re supposed to chuckle at Truman’s naïvete when he says that the bomb will end all war, or at Reagan’s buffoonishness when his rant about a garden wall is mistaken for a hardline position on the Berlin Wall (it’s the worst Reagan imitation I’ve ever seen, by the way), but this is schoolboy stuff. The 100-Year-Old Man is currently the number-three biggest hit in Sweden of all time, which doesn’t speak well of a country that once produced Ingmar Bergman. It’s comforting, I guess, that America isn’t the only nation with falling cultural standards.