“Disturbing and depressing” are the words I have heard most frequently to describe a majority of the films presented at the Cannes Film Festival; so it was no shocker when “Halt Auf Freier Strecke” also fell under this category. Contrary to most of these films, this particular one actually had a good storyline that not many filmmakers are willing to embrace and portray on screen. The director, Andres Dresen, reveals the last few months of Frank’s life (Milan Peschel). I have only ever cried in two films, both about animal cruelty, but this film brought tears to my eyes quite simply because of the emotional connection I felt with the family on screen. I have watched a family friend and a couple of family members suffer through the same thing as Frank on different levels. Anyone who has ever lost someone due to cancer or any other illness will truly appreciate Dresen’s portrayal of what things can happen in a family when one member is nearing his or her deathbed.
Frank is your average German man. He works, has a wife, and two kids. His world and his family’s for that matter are turned upside down when a regular occurring headache becomes a massive brain tumor. Upon taking tests and other various courses of action, the doctor sits Frank and his wife down to discuss the seriousness of the situation. The doctor explains the severity of the tumor and breaks the news that in his particular case, Frank’s tumor is inoperable, thus shortening his life span to three months. The doctor warns the couple of the changes that will take place over the next few months of Frank’s life and advises them on ways to tell their kids about the situation in a rational way. The remainder of the film follows Frank and his family as he progressively becomes worse and worse.
After the couple tells their children, ages 8 and 14, about Frank’s illness, an instant camaraderie develops in the family. This camaraderie, however, is taken to the test as his illness worsens and his memory disintegrates. The younger child, a boy, helps his father as often as he can. The older daughter, on the other hand, seems a little less accepting of the changes in her father and often yells at him for things out of his control. For instance, Frank mistaking her room for the bathroom pees on the floor, and upon walking into her room to find the puddle begins screaming. Screaming in general becomes fairly consistent when Frank doesn’t want to accept his body’s alterations and takes the anger out on his wife, Simone. Simone, like many spouses who have to cope with a situation like this, has her on and off days, days in which she does everything to help him and days when she says she wishes he were dead for the sole reason that she would not be so exhausted all of the time.
Dresen keeps things realistic through the inclusion of inconsistent reactions from people close to the family. For example, Dresen brings in the devastated mom who refuses to visit because she does not want to see her son in this state. You have the ex-lover that comes to talk old memories and say her goodbyes. Also, the incorporation of clips that Frank has taken on his iPhone shows his perspective on the whole thing in conjunction with the rest of the film, which is shown from the perspectives of the family members and various others. In this way, the audience can see both sides of the story and easily sympathize with each character. In these clips, Frank uses clever metaphors to describe each thing that he is experiencing. One particular example to note is the metaphor he used to describe the situation relating to his wife and his ex-lover. He alludes to a childhood recollection about having a guinea pig and then getting a bunny and how he had to get rid of one. In this underlying metaphor he is telling the story of choosing between his wife (bunny) and his ex-lover (guinea pig). The simple working of these analogies into the script helps Dresen keep the audience on their toes and engaged in the film.
Peschel’s portrayal of someone with this illness is so realistic I was shaking as I was constantly reminded of my own experiences, happy and sad. Peschel’s gestures and movements accurately convey those of someone going through deep suffering. His random outbursts and bodily dysfunctions help display the harsh realities of dealing with a terminal illness and having no control over it. In addition to Peschel, Kühnert’s role as the struggling wife and mom is not an easy task to depict fully, and she gives a stupendous performance. Her facial expressions and overall emotions were right on cue. Unless you have been through something of the likes, to express the feelings and thoughts completely is near impossible, and I bow down to both of these actors for hitting the bull’s eye.
Kids and adults, male and female, who have suffered the loss of someone close to them will value Dresen’s “Halt Auf Freier Strecke.” The film takes you to a deeper level that makes you feel like you are there experiencing this real life drama. Throughout the movie, all I wanted to do was be able to do was hold each of the characters in my arms. So if you think you’re ready for this emotional heartfelt production, hop on this rollercoaster ride that will have you laughing, crying and sympathizing with the film’s characters. Oh, and don’t forget your tissues!
Directed by Andres Dresen
Starring Milan Peschel, Steffi Kühnert, Bernhard Schütz, Talisa Lilly Lemke, Ursula Werner, Mika Nilson Seidel, Otto Mellies
Running Time 110 minutes
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