With A Friend Like Harry
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Movie Reviews of With A Friend Like Harry
Movie Review: Too obvious, or not obvious enough?
Summary: 4 Stars
If only you didn't have all these distractions, then you would write that work of genius, which your high-school doodlings clearly anticipated, and your life would be marvellously fulfilled. Or, failing that, you could buy that ridiculously large, environmentally disastrous, SUV, the one with the air scoop on the bonnet, and, boy, your life would be just great.
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OK. So what happens if these simplistic wishes are magically realised? Not much. But dramatising this idiotic frame of mind to which, it seems, pretty much all of as are prone to, can produce a blackly comic movie.
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The director, Dominik Moll, presses on the whole mentality of seeing life as a series of problems with solutions. It's a mentality he allies with the mistake of reducing the complexity of the world to a falsely simple and falsely circumscibed realm, a realm in which one can potentially be master. Thus we have the figure of Michel's father, a dentist, who finds fixing his son's teeth much easier than fixing their mutual relationship, and who keeps a vivid memory of Harry's dentition, but of little else. Of course, this is a tangential example, for the focus of the film lies with Michel and his alter ego Harry.
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Michel has his problems. The children, his finances, the strain on his marital relationship, his domineering parents. If only his rich father could simply support him (and then die, leaving him to look after the estate), and if only he were childless, and his wife, rather than being an equal, were a subservient concubine: wouldn't life be free of problems? He would have Harry's life, including the big black Mercedes. Not only would he consume his fair share of eggs, he would suddenly have his creative forces unleashed from their bourgeois chains, and works of great literary power would roll forth. Heaven help those who did not take his poetry seriously, such as his wastrel brother: death shall be summarily dispensed with a crowbar to the head. Yet pouring forth this wealth of literary gold, while hunched upon the throne in his fuchsia coloured bathroom, might cost Michel his wife and children, and this might be (slightly) too high a price to pay. So better spare their lives and take the Mitsubishi 4WD and ditch the Mercedes and the sex-kitten (in a deep well). This is, roughly speaking, the lesson Michel learns as he journeys through the film.
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It's kind of worthy, but also, I thought, a bit too obvious and didactic. Youth aspires to creativity, and middle age to security. If you actually did kill all the people you momentarily think you'd like out of your way, then, even if no punitive repercussions follow, you'd still have problems. Yes, right, fine. Good points and, along with the critique of problem-based living, enough to sustain a decent film, but there's something a bit trite about it all, and something a bit wearing about the film's style. Still, perfectly watchable, although the genre of the suspense thriller is, ultimately, a less than perfect disguise for the true intent of the film.
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One review rightly mentioned this being a variant of the Faust legend, and another speculated that Harry was not real, but I'm surprised that most just assumed that this film is basically macabre realism. Even more surprising is the claim that the characters are well drawn. Hardly any 'realistic' questions are asked about the 'characters' of Harry and Prune, which is just as well, as no answers, of a 'realistic' nature, are to be had - Harry has no motivation of his own (of course not, he is a voice, an aspect, of Michel) and Prune is the sleepy sexual shell of a woman (a fantasy, Michel's if not others'). All these external representations or embodiments of a character's internal psychology are typical moves in French films, yet they are not recognised as such by the majority of viewers (see The Piano Teacher, Baise-Moi, and countless more for variants on this scheme). Should the film-maker be even more obvious? It's sad to even ask this question.
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Parallels with Hitchcock have been made. For mine, Hitchcock was far more obtuse with his psychological correspondences - his stories worked better on the crudely realistic level. Yet clearly there was heaven knows what lurking underneath. With Moll, the underneath is far too close to the surface (but, again, my criticism could well be reversed, given the apparent response of much of the film's audience).
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Another way of expressing Moll's point would be to say that Michel can't see all the things that make his life truly his life, a failing that we all share, and ironically one that is, in a sense, manifest in the typical response to Moll's film. The film then can be taken as a warning against wish-fulfillment, or, more interestingly, as a warning against seeing life as a series of wishes to be fulfilled, but also as an exploration of the limitations of the imagination. As an example of the latter, perhaps one reason people dream of the death of their parents for some ulterior gain (as we can take events in the movie dramatising) is because they can not imagine what their world would be like after such a grievous loss - it is literally unimaginable in detail, with the emotions and reactions only dimly anticipated; nor are people great at imagining the actual taste of their life in the wake of great success (thus Michel/Harry gets what he wants, but in the dream world of the movie it remains starkly unreal, unsatisfying, and hardly worth aspriring towards). Another tale that explores all of this, in a completely different manner, is Shakespeare's Macbeth. Indeed, all Shakespeare's tragedies can be read as such explorations. Which is definitely not to say that Moll approaches Shakespeare, but at least he is trying.
Movie Review: You have to overreact.
Summary: 4 Stars
The opening scene to this film is what immediately pulled me into the story, characters, and emotions. The consistent nagging of our main character's children pulled not only at Michel's mind, but also deeply into ours. This sets the stage, while already having your emotions and sense heightened, for the meeting of Harry, Michel's counterpoint in the film. A classic combination of American Psycho and Swimming Pool, our two characters and everything surrounding them pull us in every direction. From confusion, to suspicion, to fear, and even disbelief, we watch as a simple friend, and unknown acquaintance becomes so deeply rooted in this struggling family. Director Dominik Moll has done his homework in this genre and successfully creates a film that not only tantalizes, but also settles in deep inside you releasing snippets of fear throughout the story. His camera angles, structure, and deeply rooted character development make this little, almost unknown, thriller a step above the others out there.
As I said before, Dominik Moll does a great job directing. It is obvious from the opening credits until the chilling ending that he is very comfortable with the genre and the material. There are some amazing scenes that boldly stick out in my mind, and that is a great sign that the director has gone well beyond his duties to create a powerful film. Outside of the direction, which does stand on its own, we also have some of the best casting around. Sergi Lopez literally steals every scene in this film. His charisma, quiet demeanor, and sinister eyes keep our eyes focused directly on him at all time. Moll gives us nothing about Lopez's Harry, which makes him even more watchable. He is curious and slippery all at the same time. We are never quite handed the reason for Harry's persistence with Michel's writing or the back-story on how these two met (the circumstances that apparently effected Harry's life), and it works in this film. I am notorious for needing more stories to accentuate the characters, but in Harry, un ami qui vous veut du bien, none is needed. The suspense is built by not knowing and it really sends a chill up your spine.
Talking a bit more about the characters, I loved the way that Plum was handled. Who was she? Why did she always seem to know what Harry was doing? To me, that was some of the more frightening elements of this film. Plum had a secret, and I really wanted to know what it was. You can never trust Harry, which makes me wonder what was the truth and what were lies that he spoke about. Strangely, the way that I saw it, Harry never lied. Outside of the dirty deeds that he sometimes did, he was a pretty honest guy and I think that was his way of winning over Michel's support. On a side note, could you not see this film being remade using Robin Williams as the role of Harry. After seeing him in One Hour Photo and Insomnia, I could see him pulling off a role similar to this (also, Lopez sometimes looked exactly like Williams). Oh well, it was just a thought.
What kept this film going was the simplicity of the story. It was obvious that Moll used the ever-popular direction known as "K.I.S.S." (Keep It Simple Stupid) to keep his audience focused on the characters that were in front of them. This was a character-based film that, like an onion, had layers upon layers of emotions. There were no elaborate sets, no twists and turns, no sudden jumping that would detract us from the story, it was a simple story with amazing characters, nothing more ... nothing less. For this film, it worked.
Finally, I would like to take you on a thought journey if you wouldn't mind. Think about this for a moment as you finish reading this review. I thought of this after watching the film and as I typed this review. What if there was no Harry? What if Harry was just a figure of a broken man's imagination? From the opening scene we see the tension that Michel is feeling about his life and family, why is it impossible to think that perhaps he created Harry out of thin air to help him through the rough times. We all think of times in our lives that we wished we could go back to, perhaps Michel's time was when he was writing. Writing seemed to ultimately make him happy, so why not dream of a way of getting back there. When it got to scary for Michel (breakdown was pushing him away from those that he loved), is when he had to deal with Harry. I know there are logistical issues with this thought process, for example conversations and so forth, but it was a thought I had as this film seemed to wrap up. Maybe others feel the same, perhaps I am crazy, who knows ... only I will know when I approach you as a lost friend next time you are at a rest area.
Overall, very impressive work by everyone involved. I thought that the story was tight, the characters were immensely disturbing and exciting at the same time, and the images decorated the film very well. I would suggest it to anyone that loved Swimming Pool, the structure is very similar ... except one is sex and the other is writing. They do go together ... don't they?
Grade: **** out of *****
Movie Review: We Need More "Friend"s Like This
Summary: 4 Stars
Michel and his wife are making their annual trek to a rural farmhouse they purchased a few years ago in the French countryside. Every summer, they spend their vacation there, fixing it up. Their three young girls sit in the back seat of the hot car, complaining, crying and venting their misery. Finally, Michel decides to stop at a gas station and freshen up. There, he runs into an old friend, Harry, whom he does not recognize, but Harry certainly recognizes him. Harry remembers the poem and short story Michel published in the school newspaper over twenty years ago. Harry invites himself to their farmhouse for a drink. Harry and his girlfriend, Plum, soon become guests. Slowly, they learn about Michel and Sophie's life. Harry, financially well-off, decides to buy them an air conditioned SUV.
"With A Friend Like Harry", the new French film released by Miramax Zoe in the United States, is a very interesting, fun film.
Virtually every newspaper ad for the film quotes a reviewer who compares the film to Hitchcock's works. Comparing a film to a classic is always a tricky concept. Comparing a film to the work of someone as revered as Hitchcock usually illicits snickers and derision. "With A Friend Like Harry" is the first film I have seen in some time that is worthy of such comparisons. It isn't as good as Hitchcock's best, or even his good, but it does reach for the same level of suspense that Hitchcock was able to achieve over and over again.
"Harry" also relies on the same suspension of belief that Hitchcock relied on frequently. Can a man mistake a woman that he had an intimate relationship with simply because she has changed her hair color? Can a man solve a murder while bound to a wheelchair in his apartment? Can a man survive a cross country hunt? In "Harry" we have to believe that a man will recognize a classmate after twenty years and feel strongly enough about him to help him change his life. The actor playing Harry, Sergio Lopez, reveals the layers of his character in a very restrained manner. Slowly, we realize that the character is deranged and psychotic, but we don't learn this from a foaming mouth or long diatribes.
The actor playing Michel is also very good. He brings a quiet desperation to the role. He is a family man who has never realized his dreams, but he knows that he now has responsibilities and carries on.
The rustic French farmhouse is an ideal location. A bit surrealistic, it allows the characters to act differently toward one another. Slowly, as Michel changes, he seeks solitude in the newly remodeled bathroom, a pink horror that his parents have commissioned in the little farmhouse.
"With A Friend Like Harry" is a very good, very suspenseful, enjoyable and, at times, funny film.
Movie Review: A wicked, jet-black comedy (don't expect a true thriller)
Summary: 4 Stars
First of all, if you're looking for a good scare then you'll hate this movie. If you're looking for a black comedy that will make you feel guilty to laugh and chuckle at some rather unpleasant goings-on, then I can't think of many other films that will fit the bill! This movie doesn't come out and tell you what it's about--it leaves it ALL up to your imagination. And that is the un-American genius to it (we can't seem to do this in American film anymore). Obviously Harry is a nut (because he's a killer), but do his motivations seem that "off"? Not really, and that's why this is a black comedy and not really a thriller. His motivations aren't really out of lust, greed, or hate, which is what makes it rather disturbing. It makes me think of a Macy Gray song: "you are relating to a psychopath, your role model is in therapy, you must be real far gone, you're relating to a psychopath". That's what this movie is like. You get a chance to hang out with a pyscho--and actually get along with him. It's pretty wild. But don't expect any hair-raising thrills--they do not happen here. I also got the feeling that this movie is also making very subtle jabs at the Americanization of Europe. Like when Harry bought the 4x4 for Michel and family, Michel didn't want it because he thought 4x4's (we call them SUV's here now) were "vulgar". But he soon enough accepted it, seemingly undisturbed by the fact that his values were pretty easily sold out. Consumerism is making its way to the rest of the world. If you're unhappy, buy a product and enjoy the few minutes of relief it buys you. If it buys you more time (like the 4x4 did), then to hell with your values if they were compromised. These things are not uniquely American, but I think Harry in a way represents the modern American influence on old Europe. Harry did mention that he had some dental work done in America, so we don't know
So there's a lot of things to pick apart in this film. I didn't give it 5 stars because I still feel it's a little too obtuse to be a perfect film (plus it is really nihilistic--was Michel relieved by what happend to his parents???). Maybe I'll see it again in the future and will change my mind, but right now 5 stars doesn't seem right. But it's really a stroke of genius, though you'll never be able to fully explain why.
Movie Review: A friend indeed...
Summary: 4 Stars
As far as thrillers go, `Harry un Ami Qui Vous Veut du Bien' (With a Friend Like Harry) really succeeds on a lot of levels. It is chilling, unnervingly so, and the ending is ridiculously well timed and unveiled. It kind of takes you by surprise and adds layers to the films already intriguing plot.
That said; the film does lack in certain areas that could have made it even more chilling. Because of the fact that this films premise is not your usual thriller foundation (the one to be feared is a more intimate acquaintance) the film really needed to expound on just what it was that made Harry tick like he did. While the audience surely can place certain pieces of the puzzle together, it would have been more advantageous for the director/writer (Dominik Moll) to have fleshed it out a little clearer for us. We really want answers to the obvious questions (WHY DID YOU DO IT HARRY?) but we aren't supplied them.
Still, `With a Friend Like Harry' manages to deliver in areas most important, most notably the thrill department.
The film follows a young married couple with three daughters who are vacationing in a home they are currently renovating. When a chance encounter with an old friend passes the uncomfortable `first stage', things get even more bizarre as this friend, Harry, latches on and refuses to let go. What seems like mere `helping' turns into a form of terrorizing as Harry does what he sees fit to `help' his long lost friend.
What makes the film work more than it should is Sergi Lopez's fantastic performance. As Harry, he slowly yet deliberately unveils just enough to keep the audience equal parts fascinated and repulsed. We want to know more, yet we want him to go away. Mathilde Seigner is also phenomenal. Laurent Lucas is a tad stiff, which was part of the character but also could have been loosened by a stronger hold on his character's emotional shifts.
In the end, `With a Friend Like Harry' nails the most important things, creating a memorable thriller with real teeth. It isn't perfect, but rarely is a film in this genre, so it's forgivable.
By the way; beware of the English dubbed version of this film. The voices are obnoxious and unrealistic and take away from the film entirely.
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