As O'Horten begins, it's clear that Horten will manage his retired life much the same as he has his working one, with consistent routines and a decided lack of improvisation.
O'Horten (2009)
Tomatometer
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Reviews Counted:76
Fresh:68
Rotten:8
Average Rating:7.1/10
Consensus: Bent Hamer's latest is a droll, deadpan comedy filled with strange touches and melancholy charm.
Theatrical Release:May 22, 2009 Limited
Box Office: $170,980
Synopsis: Odd Horten (Baard Owe) is a man with a lot of time on his hands. The character at the center of Bent Hamer’s wry social comedy, O'HORTEN, is a former train driver who struggles to adjust to the... Odd Horten (Baard Owe) is a man with a lot of time on his hands. The character at the center of Bent Hamer’s wry social comedy, O'HORTEN, is a former train driver who struggles to adjust to the freedoms of retirement. Hamer carefully outlines the rituals from Horten’s working life: recurring visits to a local tobacconist to fuel his pipe-smoking habit, a pre-work routine in his Oslo apartment, and visits to a small-town hotel where the kindly female owner treats him with considerable fondness. Most of Hamer’s movie takes place in the snow-covered Oslo night, where Horten encounters a series of erratic characters as his own behavior slides into nonconformity. The director fills his movie with little eccentricities that are rarely explained but often provoke amusement, such as the time Horten emerges from a late-night dip in a swimming pool, clad in a pair of red high-heeled shoes. O'HORTEN is a wonderfully amusing piece, with Hamer demonstrating his innate ability for offbeat comedy. The strange atmosphere and long silences are reminiscent of the work of Finnish director Aki Kaurismaki, and the oddball denizens of the Oslo night are similar to the way-out characters of Jim Jarmusch’s MYSTERY TRAIN. Hamer’s movie is a compelling exploration of a loner who has had all the familiarity stripped from his world, and flounders as he seeks to find meaning in a life shorn of routine. Owe’s deadpan delivery is flawless, and his restrained performance offers few clues as to what is going on in Horten’s head, requiring the audience to ponder the motivations for his increasingly peculiar behavior. The mixture of humor and poignancy are kept in a delicate balance throughout, with Hamer gently steering his small cast through a film full of richly rewarding subject matter. [More]
Starring: Baard Owe, Espen Skjonberg, Ghita Norby, Bjorn Floberg
Starring: Baard Owe, Espen Skjonberg, Ghita Norby, Bjorn Floberg, Kai Remlov, Henny Moan, Bjarte Hjelmeland, Per Jansen
Director: Bent Hamer
Director: Bent Hamer
Screenwriter: Bent Hamer
Producer: Bent Hamer
Composer: KAADA
Studio: Sony Pictures Classics
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Reviews for O'Horten
Horten is a simple, inquisitive man, and through this likable scamp O'Horten demonstrates the nobility in both precision and curiosity.
Events unfold at an unfathomably cool pace, making Horten a comfortably numb cipher.
Humor doesn't get much drier...this may be the most quietly funny film since Hamer's Kitchen Stories.
Writer/director Bent Hamer’s humane, gently absurdist film has visual heft and beauty, plus a good-natured hero with whom moviegoers scattered across the age spectrum will be able to identify.
Despite one misstep and a telegraphed conclusion, "O'Horten" is an amusing peak into the Norwegian psyche...for a solitary man, Bård Owe makes Horten very good company indeed.
A preciously deadpan comedy that never lays claim to its own distinct identity; it’s cinema as a mass-manufactured snow globe.
What you make of Hamer’s brand of quirkiness is very much a matter of taste. My experience was that the film was often on the brink of annoying me, yet never did.
The helicopter shots of Horten's train snaking its way through Norway's wintry wastes are beautiful.
The awkward courtship of these two tongue-tied singletons makes for a winning tragicomic romance, with a dab of magic realism, but it's not recommended as a date movie.
A brilliantly pitched exercise in droll comedy with a tender message about seizing the day.
It’s not always the most compelling piece of storytelling. It does, however, have a bittersweet appeal that fans of eccentric Northern European cinema will find hard to resist.
Even for Hamer, it’s aimless, though, and you keep hoping the aimlessness is going to crystallise into a point. The film’s frostbitten sense of mortality is something we’re meant to feel in our bones.
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.
With its rich, mournful score and striking, snowy visuals this risks lapsing into suicidal miserablism, but emerges as something far more rewarding.
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