This Hollywood adaptation of bestselling Swedish novel A Man Called Ove contributes nothing new to a well-known trope, yet Tom Hanks’ performance doesn’t leave a dry eye in the house.
★★★✰✰
Every neighbourhood has one: a grumpy old curmudgeon with a heart of gold. In this film, he goes by the name of Otto (Tom Hanks). Based on the bestselling novel A Man Called Ove and inspired by the 2015 film adaptation of the same name, A Man Called Otto is at its heart a love story, but not in the way you might expect. However despite its touching subject matter, heartfelt moments, and the fact it is spearheaded by one of Hollywood’s most revered stars, the film remains largely forgettable.
We first meet Otto in a DIY store, wreaking havoc on a store clerk who has, he believes, mischarged him for the price of a rope by a whopping 37 cents. It is an excruciating exchange to bear witness to, as are most of Otto’s interactions with his local community: his existence seems a lonely one. That is, until his new neighbour Marisol (Mariana Treviño) and her family steamroll their way into his life, and eventually into his heart. A Man Called Otto sees Otto transition from a friendless, grieving widower to a valued and loved member of his community. It’s a trope that’s been rehashed time and again, and this version adds little, if anything, new or of substance. Still, it is moving in its own quiet and understated way.
Keeping the audience engaged in a film where the protagonist is alone for a significant chunk of time is a tricky business. In this case, it is made even more challenging by the fact that said protagonist is grouchy, belligerent, ill-tempered, and not altogether likeable. The novel on which the film is based relies heavily on its readers understanding the grief driving Otto’s (or in the book, Ove’s) behaviour, eventually coming to sympathise and even root for him. Translated onto screen without being able to provide this stream of consciousness, it is near impossible to convey the true depths of Otto’s grief and so, at times, the stakes feel off. That said, the flashbacks to a younger Otto and his unfolding romance with Sonya (Rachel Keller) provide the most heart-wrenching moments of the film. Whilst the present day’s muted, Scandi style mirrors Otto’s cold existence, the golden-toned flashbacks offer some much-needed warmth, eventually becoming the driving force behind the entire story.
The film hammers home the importance of community, with Otto’s neighbours drawing him out of his self-imposed isolation and reminding him there is still colour to be found in his greyscale world. Yet, with the exception of Marisol, the characters who make up this community feel disappointingly two-dimensional and could seriously benefit from some development. Nevertheless, A Man Called Otto tugs at the heartstrings at all the right moments. Hanks delivers a flawless performance, as always: despite his obstinate nature and unbending ways, Otto manages to remain curiously loveable throughout. Whether this is down to clever, nuanced storytelling or Hanks’ position as most-loved-guy-in-Hollywood is difficult to discern.
The Verdict
Despite its best attempts at black comedy which only sometimes land, A Man Called Otto is at its best when it leans into its more saccharine moments. Otto’s rare displays of emotional vulnerability act as a foil to his more cringe-worthy outbursts, revealing his endearing nature as the brittle outer layers slowly fall away. Though it’s a trope seen time and again, A Man Called Otto can be relied upon to defrost even the iciest of hearts and will offer a pleasant, if slightly forgettable, movie-going experience.
Words by Kate Padley
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