Shadows on the Wall | A Man Called Otto

A Man Called Otto

dir Marc Forster
scr David Magee
prd Fredrik Wikstrom Nicastro, Rita Wilson, Tom Hanks, Gary Goetzman
with Tom Hanks, Mariana Trevino, Rachel Keller, Manuel Garcia-Rulfo, Truman Hanks, Mike Birbiglia, Juanita Jennings, Cameron Britton, Mack Bayda, Alessandra Perez, Christiana Montoya, Kelly Lamor Wilson
release US 25.Dec.22,
UK 6.Jan.23
22/US Columbia 2h06

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Moving the sharp-edged 2015 Swedish hit A Man Called Ove to America and bathing it in Tom Hanks' star power naturally creates a more comically heartwarming concoction. Director Marc Forster uses amusing details to trace the life of an old man who wasn't always this abrasive, and might not need to be any longer. So if the film isn't particularly complex, it's at least made to be rousingly entertaining.

Growling loudly about the inefficiency of the young people who are taking over the world, Otto (Hanks) isn't popular with his neighbours and snarls through his retirement party on his last day at work. Missing his late wife, he decides to end his life, but is interrupted by his noisy new Mexican immigrant neighbours Marisol and Tony (Trevino and Garcia-Rulfo) and their sparky daughters. Even worse, a stray cat seems to have adopted him. Soon, Otto finds himself thoroughly involved in their lives, as well as the neighbours he has withdrawn from over the years.

In moments of contemplation, Otto flashes back to his younger self (played by Hank's son Truman), revisiting a life that didn't go as planned, despite deep love with wife Sonya (Keller). These scenes strain to apologise for his present-day tetchiness, while the comedy tilts toward slapstick goofiness. There's no irony, and sadness or sentimentality are never too far away. Even the working class setting has a slick Hollywood sheen, as the ageing housing estate is being targeted by a shark-like developer (Birbiglia).

As cantankerous as he is, Otto is never unlikeable, as Hanks undermines the nastiness with endearing emotions. He may be brusque, indignant and nitpicky, but he's never cruel, even if everyone around him is an idiot. Trevino and Garcia-Rulfo have hapless charm that's silly and cute, so it's no wonder Otto can't resist them. They also gleefully puncture his self-righteousness. Supporting actors like Jennings and Britton (as neighbours) and Bayda (as Sonya's ex-student Malcolm) add nice textures.

Bleak undercurrents add a tinge of pain to the warm flashbacks. But a string of pointed jabs at modern culture feel rather corny, including a particularly easy shot at smartphone culture. While late-act revelations and plot points feel a bit contrived. The nicest angle to this film is its commentary on how it never belittles you to accept help or compassion from someone. Indeed, the most affecting angle to the story is Otto's interaction with Malcolm, who's simply in need of a friend.

strong themes, language 14.Dec.22

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