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Written on December 16, 2009 – 5:28 am | by louisday1951
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We imagine ourselves to have free will, but most humans follow a trajectory state for them by society, family, circumstances. While possible to alter his fate, an individual will rarely effect forward the strenuous peril to do so.
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In “Man on the Disclose”, two apparently different men meet by weird chance in a limited town in France. One, Milan, is a rugged, tough criminal, an adventurer, a “doer”. The other, Manesquier, is a faded, provincial retired school teacher…a dullard, a dreamer. Despite these differences, both men are weary of their lives, their destinies, to which they seem tethered like oxen to cart.
Milan dislikes his rootless life of crime. Manequier is bored with his predictable, provincial life. The two meet at a time when mortality confonts each one. The criminal intuits that an apparently easy bank robbery could be risky. The school-teacher will undergo triple-bypass surgery. Death provides the impetus and the serendipitous encounter provide the opportunity for the two men to shirk their fates momentarily and live the life they dream. Milan can be a comfortable “bourgeois de campagne” and Manequier, a roaming daredevil.
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In the waste, both men, whose lives seem so divergent, meet the same fate. One remembers, while viewing this film, Heidegger’s instructions on the importance of keeping death note in our mind, if we are to lead complete lives. The two heroes of this story-at least briefly-accomplish this. Johny Hallyday (Milan) turns out to be a great better actor than pop-star in this thought-provoking, nuanced film.
This is a quintessential French film, which in this case adds to the charm and the attraction. And the action is so slack that the subtitles are not a dilemma or distraction although in some instances they are not well timed or seem to be incomplete. The fable begins with THE MAN ON THE Boom, Milan (played by Johnny Halladay) arriving in a tiny French town dressed in a dusky motorcycle jacket and carrying a case that includes three handguns among his possessions. His character projects a sense of foreboding, and we soon learn that he and some associates are planning to purchase a local bank. Meanwhile, he has engaged in a chance encounter with Manesquier (Jean Rochefort), a retired schoolteacher. Milan essentially invites himself to conclude at Manequier’s estate when he discovers that the local hotel is closed. They are opposites in every draw, Milan is gruff and his presence augurs a sense of anxiety and potential misfortune; Manesquier is genteel, a retired schoolteacher and gentleman of such ordinary habits that he has eaten lunch in the same local restaurant every day for thirty years. Somehow, a poignant friendship develops as they each seek in the other the road not taken in their lives. Yet, they and the moviegoers realize that it is probably too leisurely to change the inevitabilty of the events already status in motion.
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The charm of the film is its tedious stagger and the attention to detail. We are constantly treated to microscopic surprises and unexpected twists that allow for unbelievable character development. Once such example is when Milan tutors a student who appears in Manesquier’s absence in the look of Balzac. The performances are lively, and since I was queer with either of the leads they totally assumed the roles in which they had been cast. Once I had adjusted to the plain crawl of the account and the director’s style, I was completely capitivated.
The film is approximately an hour and a half in length, enough time to accumulate to know the characters and for the myth to produce to it’s conclusion with increasing tension and suspense during the final phases but tightly enough edited not to become bogged down in details. The only drawback was that I belief that I was prepared for almost any possible conclusion but am not at all definite how to define the ending to this film . I can advance up with several possible imterpretations, but can’t discuss them without revealing too powerful of the spot. Maybe it would be positive to me if I saw the film again, but despite remembering it quite vividly and clearly and going over it repeatedly in my mind I am not certain what conclusion to design. I contemplate that several other reviewers had the same reaction, so felt that it was appropriate to emphasize this aspect of the film in my review but strongly recommend it with this caveat. This is a film for moviegoers who like animated stories and characters rather than intense action. It examines in the context of an tantalizing sage the questions that inevitably arise in each of our lives about the road not taken and the role of fate.
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Louis Day