Bent Hamer is a well-known Norwegian writer-director whose earlier film Kitchen Stories (2003) was reviewed by Keith last year. I didn’t read Keith’s review at the time and in some ways I’m glad that I came to O’Horten in relative ignorance of Hamer’s approach. After the first ten minutes of the film I thought “this is going to be delightful”. The wonderfully named Odd Horten (impressively played by Bård Owe) is a 67 year-old train driver on his penultimate trip to Bergen and back from Oslo. When he returns his colleagues give him a dinner at which there are quizzes about railway sounds and he is presented with a ‘silver locomotive’ on a plinth. But when Odd is persuaded (against his usual instincts) to move on to a colleague’s apartment to continue the party, things start to wrong – so wrong in fact that he misses taking out his last train the following morning. What follows is a kind of journey of discovery.
O’Horten is described in most reviews as a comedy and I guess it is a comedy of sorts. Philip French suggests that it refers to the US genre of ‘retirement comedies’, best represented for him by About Schmidt. I think that the film certainly makes use of generic comedy elements, but I also found it quite disturbing at times – in the sense that I wasn’t quite sure where it was going (which is a good thing). I do think that there is a tendency for reviewers to take a 67 year-old bachelor who moves slowly and thinks carefully before acting as obviously quaint or ‘whimsical’. But there are several scenes which deny this. What is clear is that a snowy and deserted Oslo is as much a character in the film as Odd himself. It is a city with rather austere buildings, rain and snow on the streets and trams clanging round the corner. For a stretch in the film we appear to enter the world of Swedish auteur Roy Andersson. We see Odd in a bar (called ‘Valkyries’!) which is a dead ringer for an Andersson bar, except with less clientele but with a wonderfully morose waiter in a white coat that took me back 40 years to the pubs of my youth. There is a considered ‘old-fashionedness’ to much of the mise en scène, including Odd’s attachment to his pipe. A man at the urinal stall warns Odd that freezing rain is forecast very soon and we cut to Odd outside, clinging to a lamp-post as pedestrians and a motorcyclist slide down the hill on the ice. This blog refers to Hamer/Andersson’s approach as ‘European absurd realism’ which is quite neat.
The Andersson reference raises the question I hesitate to enunciate: is this what the international art film market (i.e. in North America) thinks a ‘Nordic/Scandinavian’ film must be like? I have to confess that it does conform to a kind of serio-comedy model and it includes, besides the fascination with trains, a central role for ski-jumping. My concern of course is that typing films in this way may get in the way of a broader understanding of Norwegian genre films like The Troll Hunter. Nevertheless, I enjoyed O’Horten and kudos for Channel 4 in screening it even if it was on at 01.45 am!