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July 8, 1997: ("Scanlines" wishes to thank Encore Movies & Music, I Luv Video, and Vulcan Video for their help in providing videos and laser discs) |
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Toto the Hero (TOTO LE HERO)
D: Jaco van Dormael (1991)
with Michel Bouquet, Mireille Perrier, Pascal Duquenne, Didier Ferney
"Nothing ever happened in this guy's story," portends the opening of this French treasure, but don't you believe it. A stunning tale that combines mystery, fantasy, drama, action, comedy, and a little bit of everything else, Toto The Hero (Toto le Hero) is one of those films that's kept me coming back again and again, because I get a little more out of it with every viewing. The plot revolves around Thomas (Bouquet, as an adult), a simple man who is convinced that he was switched at birth with neighbor Louis (Ferney), the kid who had it all, and the story sweeps us from Thomas' days in the crib to his ultimate revenge on Alfred as an old man. Brilliantly constructed, the film tracks Thomas at three different ages (plus additional sidetracking) á la Slaughterhouse Five, so it requires a bit of effort on the viewer's part to keep up with the plot, not to mention the subtitles. While van Dormael and Duquenne worked together again recently on the critically disregarded The Eighth Day, Toto already has the makings of a long-term classic, and should simply not be missed. -- Christopher Null
Sixteen Candles
The Breakfast Club
Ferris Bueller's Day Off
Yes, John Hughes should be flogged for giving careers to Molly Ringwald and Judd
Nelson -- careers which still run off their teen momentum -- he did, however, possess
a certain cinematic gift. Six hours of vicariously re-living 10th grade via the trilogy
of Sixteen Candles, The Breakfast Club and Ferris Bueller's Day Off
and it became clear: Lies. Lies. All lies. In Sixteen Candles (1984, D: John
Hughes; with Molly Ringwald, Anthony Michael Hall, Michael Schoeffling, Paul Dooley)
the yearnings of Samantha Baker (Ringwald) rest upon the mistaken notion that high
schoolers can actually experience an emotionally mature relationship that transcends
social caste or clique. Worse, Hughes follows through with that myth, leading to
the fabrication-turned-universal-teen-movie-theme of either dweeb gets girl or dweebette
gets quarterback. Please, in no world is it metaphysically possible for "the
Geek" (Anthony Michael Hall) to end up with the prom queen. Then there is the
big lie of The Breakfast Club (1985, D: John Hughes; with Molly Ringwald,
Judd Nelson, Ally Sheedy, Anthony Michael Hall, Emilio Estevez). Saturday morning
detention? Uh-uh. Every high school in these United States of America holds detention
after school Monday through Thursday. Not even Mr. Roark could get away with holding
D-hall on a weekend. Finally, there is the jewel in Hughes' triple crown of hoax:
Ferris Bueller's Day Off (1986, D: John Hughes; with Matthew Broderick, Mia
Sara, Allen Ruck, Jeffrey Jones, Jennifer Grey). While this flick is delightfully
fun and charming in its deviousness, it is based on the premise that when teenagers
dodge a day of class they are not going to drink, they are not going to do
drugs nor are they going to have sex. Yeah, right. Even granting the purely wholesome
leitmotif, some of what Ferris, Sloan, and Cameron do still has a very low verisimilitude
quotient. Take in a Cubs game? Sure. An art gallery? No way, no day. The kind of
kids who go to art museums do not skip school. Cumulatively though, given the whole
teen oeuvre, Hughes did hit upon something. Paraphrasing Spalding Gray paraphrasing
someone more consequential, Hughes told the lie that tells the truth. Once you quit
nitpicking and get beyond the happily-ever-after stuff, you find in Hughes' films
an almost Woody Allen-like understanding of setting. Unlike, say Linklater's subUrbia,
where the region on the city fringe is assumed to be this wasteland of pre-packaged
homogeneity, a priori ruining kids' lives, Hughes' films assume a kinder,
gentler, and more accurate take on the 'burbs, specifically (and exclusively) the
Chicagoland 'burbs. The truth is that the suburbs, while maybe a cultural vacuum,
are a relatively nice place. The lawns are green, the schools are good, the crises
are small, and there is usually plenty of parking. Hughes recognizes the danger of
blandness in the land of strip malls, but, corny as it may be, his characters, while
products of their surroundings, overcome the negative aspects and manage to carve
out nice identities anyway. The suburbs aren't hell on earth. They're not even anything
to dye your hair orange about. They are just a mildly boring and relatively safe
place to grow up. -- Michael Bertin

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