The Man from London

I hadn't seen a film by Bela Tarr before, and at first I was put off by the slow, deliberate style - the first scene took about 15 minutes and was agonizingly slow. The whole picture moved at the same lethargic pace and I thought it was remindful of an Ingmar Bergman film. I never felt comfortable with Bergman as I thought his style pretentious, but I got a different feeling from watching "The Man From London".

The slow pace, as in the languid opening shot, accentuates the prevailing mood of the film, and lends motivation (or lack of) to the protagonist Maloin. He is a simple man who has resigned himself to his fate, a boring, tedious existence as a night watchman with a shrewish wife (Tilda Swinton, in a role that is too small), until his life is turned upside down when he witnesses a murder from his watchtower. The picture is full of long, lingering closeups and long shots and the characters speak in the same deliberate manner as the pacing of the film.

I suppose if he had wanted to, Tarr could have edited out about 30 minutes of film to speed it up, but he would have ruined the overall effect of the picture, which exemplifies the predominant mental state of Maloin and the struggle with his conscience that has thrown his life into chaos. You have probably seen films you would like better but you have never seen one as offbeat or as memorable as "The Man From London". Serious movie fans ought to include this one in their respective film canons - it is very worth seeing will certainly throw your list into disarray.