“What makes you carry on, Oscar?”
“What made me start: the beauty of the act!”
“Beauty? They say it’s in the eye… the eye of the beholder,”
“And, if there is no more beholder?”
Holy moly, was this film something else. From the stellar performances, the surreal and unbelievable scripts and storylines and roles, to the odd sequences that they really managed to pull off, the film was truly something else and it is something that any one would remember for a long time.
As soon the opening sequence rolled in, I did not really know what to expect out of the film. Monsieur Oscar bids his family farewell as he enters this long, sleek white stretch chauffer-driven limousine and answers a phone call, telling who ever is at the other end of the line that he is well set to go and do his job… his co-called “appointments” that were, in fact, pretty unusual and unconventional the way one would expect them to actually go. He exits the vehicle and suddenly, we are faced with the character of an elderly woman frolicking around the streets and begging for money. At this point, I was already in the peak of confusion. What the heck was happening? Honestly, I do not think it even immediately registered to me that this man’s appointments actually meant living parts of his days as an elderly beggar, an assassin, a strange creature who lived in a sewer, a grumpy father, and an old man on his deathbed. He internalized these roles so naturally, and there were absolutely no questions nor objections made throughout these booked appointments. It was also interesting how his limousine was mobile dressing room, where all of his characters and roles are created and, eventually, come to life. There were quite a number of scenes that left me confused, mouth gaped wide open as I try to make sense of what I was actually seeing right in front of me. To this day, I, perhaps, still do not know. The film really tried to disturb one to the core, showing things that were absolutely absurd, unreal, and too strange to be true, and changes up with no explanation at all. But I never had time to question any of it, nor did I really feel the need to challenge it further. Films just do that — present us with the strangest of sequences and narratives and characters, and we do nothing but accept that this is the world that exists at the moment. The ending sequence was also pretty confusing, although humorous in some way, it was strange to witness a whole long scene of cars just talking amongst themselves as if it were a normal thing that you would see in your every day. However, Holy Motors was a film that felt like a true classic, and something that I would recommend people who are interested in European Film to watch and indulge in themselves. As Monsieur Oscar even says, “I have a plan to go mad”.