Image may be NSFW.
Clik here to view.
Year: 2011
Director: Markus Schleinzer
Writers: Markus Schleinzer
Region of Origin: Austria
Rating: Unrated
Color, 96 mins
Synopsis: MICHAEL describes the last five months of 10-year-old Wolfgang and 35-year-old Michael’s involuntary life together. (Source)
http://www.youtube.com/watch?v=3KAuBQkQH2M
Markus Schleinzer’s debut film Michael is centered around the idea of the normalization of evil. Wherein most films, novels, etc., convey the horror of evil acts by presenting them in their most repulsive form (think ultra violence, gore, torture), Schleinzer takes a completely inverted approach, emphasizing instead the practical, the routine, the (dare I say it) mundane aspects of being a 35-year-old pedophile with 10-year-old boy locked in your basement. The result is wholly unsettling and expertly crafted.
Michael is a pretty unassuming fellow. He’s quiet, mild-mannered, and works a typical nine-to-five. He has a family that loves him, and friends that invite him to skiing trips. In many ways, his relationship with the captive Wolfgang is very paternal: cooking dinners, taking day trips, and caring for Wolfgang when his sick. Wolfgang too goes through some pretty normal things for a 10-year-old: pushing boundaries, watching copious amounts of television, and yearning for friendships. In between these rather routine events, brief, indirect glimpses into the more sinister basis for their relationship are presented, but they’re usually implied and are never shown on camera. It creates an interesting tension, as there becomes a progressive disconnect between the monster within and the outwardly normal person.
That brings us to the core of the movie: it’s two leads and Schleinzer’s masterfully subtle direction. Michael Fuith as the title character and David Rauchenberger as Wolfgang really put forth outstanding performances. For a movie that never brings its despicable subject matter the fore, it’s these two that really lend it the tension and disturbance it requires. Michael’s character is dark, complex, and chameleon-like as he tries to blend into society, and Fuith really captures that perfectly, especially with the flashes of guilt that surface when the subject of child abduction arises. Rauchenberger too plays a much more complex victim than I would’ve anticipated. There is a bit of Stockholm syndrome play, but he’s able to counterbalance the resigned acceptance with fits of fury and nuanced body language. The direction mimics the two actors execution, with Schleinzer showing an amazing amount of restraint and sense of purpose. It’s apparent the script and concept of the film was studiously crafted, and the meticulous manner of the film really conveys that. Schleinzer obviously had a very specific tone and effect in mind, which when presented with such skill and precision really make it hard to believe this is his directorial debut. That said, Michael does lack a particularly discrete narrative, and may be too detached for some. While I’m infatuated by the myriad of details, subtleties, and implications, if you’re looking for a more upfront hook or message, this may not be your thing.
By “normalizing” something so disgusting, Michael has a very interesting effect, lulling you into a sense of disassociation, which when realized only highlights the sheer depravity even more. This film is really effective at using its counter-intuitive approach to underscore the evil of child abuse, especially the reality that perpetrators are often not the sensationalized monsters we’re conditioned to expect, but are actually pretty unremarkable. By doing so, Schleinzer brings the monster from the fringe to the ranks of the everyday, which really says a lot about what people are capable of, which is a truly frightening thought.
Crome Rating: 4/5
RP
