Truman didn’t turn out to be quite the film I was expecting. I usually choose ¡Viva! screenings because of which day and what time they are playing. I might briefly skim the blurb in the brochure but then quickly forget it and I usually like the surprise I get when I’m in the screening. This was certainly the case with Truman – an entertaining and enjoyable film with high-quality contributions all round. However, there isn’t as much use of Truman, the dog played by ‘Troilo’, as I expected – and this might disappoint those who go to the film expecting a canine-centred story.
I’ll outline the simple plot since there isn’t much chance of ‘spoiling’ the narrative. Tomás (Javier Cámara) flies into Madrid from Canada to visit his old friend Julián (Ricardo Darin), a theatre actor. Julián is terminally ill and focused on finding a home for his dog Truman. This involves auditioning possible ‘adoptive parents’ for Truman and visiting the vet etc. to find out about Truman’s health and psychological well-being. But Tomás has come a long way to spend four days with Julian and there are many other things to do in order to get Julián’s affairs into some kind of order. We quickly realise that Tomás is there as the calm, reasonable character who will allow himself to be hoodwinked, up to a point, and relieved of quite a lot of money to satisfy all of Julián’s demands. The other major character is Paula (Dolores Fonzi), Julián’s cousin, who is much more visibly angry about Julián’s approach to his impending demise. What follows is a form of comedy drama that delicately and adeptly treads a fine line between acerbic wit and sentimentality. As the director says in the Press Notes:
Truman is an attempt at overcoming the panic we all feel in life when faced with illness and impending death: our own or that of a loved one. It is an exploration of how we react to the unexpected, to the unknown, to grief.
I found myself with a wry smile one moment and then immediately afterwards realising the import of what was going on the next. Julián is an actor and a rogue and the centre of the narrative features three encounters with colleagues in the business, each involving Julián in a kind of guessing game – what do they know about his position, what should he tell them? What is the right thing to do? All of this is watched by the calm Tomás who has to decide how to respond to his friend – to console him or get him to face reality. I don’t think there is anything new or surprising about the narrative but I agree with some reviewers who think that Tomás is involved in a sequence towards the end which is unnecessary and detracts a little from the narrative’s resolution (though I suspect I could change my mind).
The success of the film depends firstly on the two male leads and their performances. The rest of the cast is good as well (with the dog effortlessly stealing his scenes) and the script is excellent. The director and co-writer is Cesc Gay whose previous work I don’t know, but who seems to have been successful since writing and directing his first feature in 1998. IMDB reports a budget of €3.8 million which I would argue has been spent sensibly. Apart from a trip to Amsterdam, the story stays in Madrid (though some scenes were shot in Barcelona – presumably for funding purposes) and the locations are all effective. The trip to the funeral services company was a standout for me, lending an air of surrealism.
Truman is interesting in bringing two Argentinian stars to Spain. Ricardo Darin is arguably Argentina’s leading male star and Dolores Fonzi is a very well-known figure in Argentina, a model before becoming an actor and for several years part of a celebrity couple with Gael García Bernal. She was the lead in Paulina, the festival prizewinner of 2015. I presume that Spanish audiences will detect Argentinian accents so both Julián and Paula are written as Argentinians in Madrid. I’m not sure if it was spelt out in the film but I assume that Julián would have come to Madrid as a student and met Tomás at that point. Javier Cámara is seen as a Madrid actor (and he has featured in Almodóvar’s films, most notably I’m So Excited (Spain 2013)). Truman opened in Spain and parts of South America in Autumn 2015 (generating around €6.5 million at the box office) and is rolling out across Europe at the moment. StudioCanal have the film for the UK and it should open later this year. I think it could do well, especially since Wild Tales, the Argentinian film in which Ricardo Darin features, was the biggest non-Hindi subtitled film in the UK in 2015 (though it was the worst year for subtitled films for some time). It should appeal to older audiences for whom the dilemmas will be more meaningful. It might work in a different way for younger audiences. In Manchester, the film attracted a healthy audience and proved a fitting climax before the Saturday night party began.