SLIFF 2010 Review: THE END

Review by Dane Marti

THE END  is a poignant, jewel of a film that explores how elderly people react to one another and the world around them. After all, they realize that ‘the end’ of life is arriving not too far down the road. However, while this sweet and slightly antiquated couple definitely need to rekindle their love, the film cleverly captures the reactions of many young people populating the story who have made up their mind about the elderly folks; Unfortunately, these young, beautiful people are more than ready to push old fogies into a symbolic nursing home.

Gabor Rohynyi is a subtle, yet exacting filmmaker who can entertain while still getting his message across. All the filmmakers involved with this tale make good use of their low budget style, making a film that might have been depressing into an honest, entertaining romp. Why?  well because it isn’t just a documentary on the sad realities of life, but a crime film, a black-humor misadventure that contains just enough pathos, irony and wit to keep it moving along. Reminiscent of films such as, ‘Going in Style’, the film will probably hit a chord with octanagerians and people who dig independent films alike.

The film explores why a person (whatever their background or age) would be driven to a life of crime, but on a deeper level, it is simply about the age-old conflicts, and a couples’ deep love… a love that permeates in many old, weatherproof and good relationships.

The basic story: An old couple has had ‘a bond’, a connection to each other that has lasted through past dark times. This is shown through flashbacks that show the innocence of the old couple back when they meant, but is a little hard to follow, having something to do with Communism. This isn’t explored in the film to any serious degree, just back-story. A pair of earrings plays a part in the bond.

What is essential is the old couple:  quietly, often silently dedicated to one another. As they do not have many years left, money is still a problem. The film slyly demonstrates another reason why frustrated folks go “on the lam.”  It also pokes fun at the conventions of the crime film — including Spielberg’s SUGARLAND EXPRESS,’ Arthur Penn’s BONNIE AND CLYDE and even Ridley Scott’s THELMA AND LOUISE.  There is a special bond between all of these ‘criminals’ garnering the love and affection of the downtrodden on the outskirts of society.

The acting of the elderly couple never seems forced or unconvincing. Shadowing them are a young couple who recently broke up due in major part to the fact that he had been with a voluptuous stripper during raucous party. Their love for each other, like the old couple, is still evident beneath the eyes and the unspoken glances that they give each other. This is compounded in the story by the fact that they are both police officers, forced to work together and find the silver-haired bandits.

The old couple are simply pensioners with little money, going into the autumn of life—and wanting to do it with a little finesse: they want dignity and purpose. As far as their outlandish turn to robbery, it also gives the pair the added bonus of a new lease on life. Like ‘Natural Born Killers without the gore and cinematic excess, these ‘criminals’ demonstrate the basic idea that love can take many forms, that it can, in fact, still be passionate and real whatever a person’s age. The ending has a clever surprise that many people might see coming a mile away. I did not. However, I appreciated the films easygoing style that — while entertaining — never degenerates into slapstick and keeps the suspension of disbelief going with touches of realism.

THE END will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 2:00 pm and Thursday, November 18th at 9:30 pm at Plaza Frontenac Cinema.