O’Horten

In this mildly charming, stubbornly naïve exploration of the tragedy of ageing unhappily from Factotum director Bent Hamer, Odd Horten (Bård Owe) lives his life by the railway. Both literally (his kitchen backs directly onto the line that he works on as an engine driver) and figuratively (his daily routine is as regular and predictable as Norway’s super-efficient transport system). As he heads into retirement, there’s no suggestion of misery in his life, but there’s no joy either – just disappointment. It’s etched on to Horten’s face in a serenely depressed smile; an acknowledgement that, though the majority of his life is behind him, he’s yet to experience the best of it.

Hamer is a hackneyed writer, so it’s no surprise that Horten’s redemption waits just around the corner. A series of bizarre events (precipitated by a missed train) throws his routine out of sync and forces him to connect with people. An encounter with the drunken Dr Sissener (Espen Skjønberg) proves particularly enlightening, as the doctor’s philosophy (“Everything comes too late in life, therefore nothing does too”) strikes a chord with Horten and allows him to start pulling himself out of his decades-long slump.

Despite the workman-like quality of Hamer’s script, it’s the same careful, predictable way the writer/director approaches his set design and soundscape that saves the film. Hamer has drawn on Twin Peaks-era Lynch for the look of his interiors; Horten’s daily commute takes him from the dark red faux-glamour of one hotel room to the deep green sophistication of another. Both are lit sparsely with table lamps, appearing simultaneously homely and threatening. We feel fogged by the richness of it all – an obvious but well-executed representation of Horten’s own feelings on the path his life has taken.

O’Horten’s sound design is another device that illustrates its protagonist’s state of mind. The first 30 minutes are dominated by the repetitive thud of train cars rolling over tracks and incidental noise that all but dies out as Horten moves further away from his old life, realising that he be can what he wants to be, even this late in the game.

Written, directed and produced by Hamer, O’Horten certainly suffers from the over-riding influence of one man’s vision. And though it’s a skilful, gentle piece of filmmaking, it’s a shame that the storyline is as old and tired as Horten himself.

Henry Barnes

Anticipation:

All aboard! Hamer has got us safely from A to B before. Should be a smooth ride.

Enjoyment:

We are sorry to announce that O’Horten has been delayed by a chugging script and poorly maintained (plot) lines.

In Retrospect:

Zips in and out of the heart and mind faster than the 11:34 from Bergen to Sandefjord Lufthavn Torp.