> REVIEW
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Michael (2011)
Nothing is what it seems…
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By Helen Adkins | March 2012
DIRECTOR: Markus Schleinzer
WRITER: Markus Schleinzer
On the surface, Michael (Michael Fuith) is an entirely normal 35-year old man. A dull, well-turned out office worker; a solitary and silent man, uncomfortable in his own skin, mostly polite, but generally socially inept.
His well-ordered, immaculate house is carefully constructed – along with ominous metal shutters that are lowered each evening – to become a personal fortress. Which hides Michael’s secret: ten-year-old Wolfgang (David Rauchenberger) who is kept imprisoned in a cellar for his personal sexual gratification.
Thus we embark on a ponderous examination of the life of a paedophile who attempts to run parallel lives, moving between his public persona and his relationship with a young boy.
Unsurprisingly, the film is not for the faint hearted. A deeply disturbing suburban horror which plots the everyday banality of imprisonment and subjugation by a man free to act without suspicion or restraint.
First time writer/director, Markus Schleinzer has taken a clinical, icy approach to the subject matter, which is probably the only way to go for one quite so emotive.
Rooted in Michael’s point of view throughout, Schleinzer defuses the situation with a serene, albeit chilling, sense of rationality. Michael appears as sane, if emotionally blank, as the next man. His bright and caring sister rules out any suspicion of familial dysfunction. He’s no ladies man and yet woman are somehow attracted to him. He can’t quite break into friendship circles but is still invited on a skiing trip with two other men.
What is clear is his infantile need for control when he can no longer cope with failure. When his skiing proves inadequate he spends his time by the pool instead, when he can’t keep up with banter of friends, he sits in the dark in his hotel to avoid them.
Real control is possible over the boy, of course. Sex is a part but not all of what we see going on in Michael’s psyche, which becomes abundantly clear as the director plays out the interaction between the two. At times it lingers on the paternal, although there’s little if any sense of emotion or empathy coming from Michael. Yet Wolfgang is taken to the petting zoo, they eat dinner each evening and exchange presents at Christmas.
Still, monstrous details keep the audience grounded in the context. When the boy falls sick, Michael digs a grave rather than considering medical help. And with a brilliantly structured script Schleinzer ensures that spectre of sex is ever-present and horrific, even if it’s revealed more in the unyielding tension than explicitly. Everyday occurrences, such as a joke over dinner, becomes so dark and chilling as to be almost unbearable to watch.
Michael is a brave film to make and Schleinzer shows undeniable talent in his handling of this taboo subject. As to what the film is trying to say, other than what we already know about paedophiles who hide behind a façade of normality, is less certain. But as a piece of masterful filmmaking Michael is impressive piece of work.
Script…………………………………………………………………………………………….
Markus Schleinzer’s tightly constructed script contains little dialogue which adds
weight to the sheer desolation of his protagonist. 4
Direction………………………………………………………………………………………..
Schleinzer’s subtle but devastating handling of this subject make this an
impressive piece of cinema which includes an outstanding performance from
Michael Fruith. 4
Verdict…………………………………………………………………………………………..
Intense and compelling, Michael offers an intriguing yet utterly chilling
depiction of true evil. 4
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