We all make mistakes. We all have regrets. Regrets in particular are an undeniably universal part of the human condition and the lives of everyone; from rock star to street cleaner. It doesn’t matter if you’re the flawless Empress of dozens of kingdoms or a waitress in a greasy spoon; there will be things you wish you had done differently. Sometimes, when things get really bad, it’s a cliché phrase of woe to wish that the ground would swallow you up. Usually though you’re probably more likely to be hoping for a window onto the past. A hole big enough to crawl through, or a door if you’re feeling especially demanding. There’s not a soul on Earth, no matter how content they may profess to be, that wouldn’t consider the chance to go back. The chance to revisit a moment when everything changed.
Boiled down to its basics, this is what The Door is all about; that irrepressible human desire to erase what has been eternally written on the pages of history and memory. That craving for just one chance of redemption and the opportunity to take another path, a happier route, on the journey of life. In many ways The Door is an extremely simple tale but it’s one that uses fantasy to suggest dark and disturbing truths about human nature. It will simultaneously cut uncomfortably close to the core of your personal experience and be impossible to imagine and relate to.
The Door is a German film, telling the story of David Andernach, played by Mads Mikkelsen. I was dubious of Mikkelsen’s ability to carry this film off. I am most familiar with him from Casino Royale, in which he played a suitably menacing but also expectedly caricatured Le Chiffre. The way The Door is constructed requires intense focus on the personal viewpoint of Andernach and Mikkelsen is in practically every scene. You really notice it when things centre round his wife for a few minutes towards the climax. Thankfully his performance is varied, convincing and touching at times.
Also good are his wife Maja (Jessica Schwarz) and daughter Leonie (Valeria Eisenbart). Eisenbart is especially excellent as a child actor accurately expressing the knowing innocence of children, reacting to the sensational and dramatic events of the plot. Andernach’s mistress Gia is played by Heike Makatsch, and if I’m being really picky, which I guess I am, her performance was bland and predictable. She does play perhaps the least diverse of all the characters though, particularly when compared to the other more mysterious, male neighbour to the family.
However whilst poor performances could conceivably have ruined The Door, the really standout thing about this film is the story. It’s the sort of plot that can’t be justified in summary. I certainly can’t make my description of it much more alluring than the mildly interesting efforts of the production notes, without spoiling the surprise factor that made The Door so immensely enjoyable for me.
What I can tell you is that Andernach is a famous artist who is over the road fucking the neighbour one day when his daughter trips over her shoe laces and drowns in the family pool. Five years later Andernach is a broken man, begging his former wife for forgiveness. He tries to drown himself in the same pool, only to be rescued by a friend. He then follows a butterfly (his daughter wanted him to catch them with her but he chose a rendezvous with his mistress) to a hidden door that opens onto the day she died. He intends to simply save her and then perhaps alter his future, but he finds himself trapped in the past, lurching from one unintentional catastrophe to another.
In a way I’m tempted to write one review of The Door for those who have not seen it and one for after you’ve all hunted it down and enjoyed its one hour and thirty five minutes or so. It’s a film that raises a lot of big questions and emotional themes that would be interesting to discuss in more depth. You think you can work out its progression from the premise but you probably won’t. I will say that its poignant overall message seemed, for me at least, to be something along the lines of; we can all relive the past if we pay a big enough price and surrender enough of ourselves, but it’s a part of being human to let go and move on.
Trying to bottle up the raw feeling I got from The Door makes it sound far from creative or moving. But watching it with its tender score and acting and simple surprises, you are really sucked in. For once the glowing descriptions of the film adorning the marketing are totally apt and spot on; The Door is a “dark moral fable” and “an accomplished supernatural thriller”. You’ll be gripped by it, fascinated by it and haunted and moved by it. You’ll wonder what you’d do confronted with your own door.
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British director Michael Winterbottom’s latest project The Trip, a “semi-real” comedy starring Rob Brydon and Steve Coogan as loose versions of themselves, has been split into six half-hour episodes and the first has already shown on BBC2. Entitled “The Inn at Whitewell”, it consisted primarily of loving shots of the bleak northern countryside and comedic duels between the two, in which they debated the merits of their own Michael Caine impressions. I’ve seen Brydon live and one of the funniest elements of his act was his frequent return to amateur, but wonderfully accurate, impressions of various famous personalities. This was awkward comedy but essentially heart-warming, harmless stuff.
Winterbottom’s summer release, The Killer Inside Me, was far from harmless of course. It conjured column after column of controversy. And the sort of identity doubts Coogan suffers from in The Trip are sedate and ordinary compared to the internal divisions lurking beneath Casey Affleck’s cold features as Deputy Sheriff Lou Ford. In a southern, drawling voiceover at the beginning of the film Ford muses that growing up in a small town, the problem is that everybody thinks they know you. This small town and its Texan desert surroundings are as beautifully framed as the rolling hills and roads in The Trip, and evoke the period American details of diners and dunes perfectly when combined with the classic 50s tunes on the soundtrack. However these familiar hits playing in the prelude to shocking violence is one of the most sinister aspects of the film.
Of course the violence itself is graphic and hard to watch at times, and the unflinching portrayal of beatings sparked the flurries of protest on the film’s release. Opponents of the film will view the most brutal scenes as unnecessary and gratuitous. However whilst their intensity may take something away from the viewing experience by making it extremely uncomfortable at points, it would be foolhardy to label the violence as meaningless. For it is undoubtedly aiming at something deeper than simply a sick visual spectacle. The motives behind the violence and the victims’ reactions are more chilling than the blows and injuries themselves. The notion that we are all capable of such acts and that the human personality is multiple is alluded to in the title of the movie. This idea is frightening and made more so when we watch Ford convince himself of the need to kill his hooker lover, as part of a grand plan he must carry out, whilst another part of him is madly, compulsively in love with her. His internal justification of the murders is baffling, unsettling and terrifying.
And both of the women Ford kills in the film genuinely believe him to be a good man. They are surprised by his outbursts of punches and in disbelief they do not turn against him. In fact with their dying breaths they wish to understand, to help him. As the viewer you wonder how they did not see the signs, the hints of violence beneath the seemingly kind law enforcer expressed in sado-masochistic beatings during sex. But then part of the terror is that from their perspective, trapped within the relationship and viewing things through a narrow lens, you could not see how far the domestic violence would go. It is the “domestic” peace of it all that also proves extremely discomforting. His female victims are unsuspecting and the murders take place in a quiet, quintessential 50s community. Life in such an environment might even seem boring and the expression of disinterested calm on Affleck’s face throughout most of the film, even during the killings at times, is tremendously unnerving. His performance as a particular type of calculated, unfeeling serial killer deserves praise.
But of course Lou Ford claims not to be “unfeeling”. He professes love for the sultry Jessica Alba and clearly has affectionate at least for his long term love Amy Stanton, played by Kate Hudson. Both actresses do an admirable job of trying to convincingly portray characters that are for the most part enthralled, rather than repulsed by, the violence. Despite his feelings though the twisted plan inside his head requires him to kill and in the aftermath he rides out the suspicions of others cool as a cucumber. The pace and tone of The Killer Inside Me reflect this mellow attitude and adds to its disturbing effects. However whilst obviously a high quality piece of film making, Winterbottom’s controversial creation could be more engaging, even after an explosive finale. It is neither a gripping thriller nor truly horrific chiller, but it is undoubtedly well made and thought provoking.
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