A Review of A Man Called Otto by Nick Olszyk
Distribution Service: Theatrical
MPAA Rating, PG-13
CNS Rating, A-III
Reel Rating, Three Reels
Disclaimer:
Contains MAJOR spoilers.
Nobody wants to be around a gump, but everyone secretly
loves them. Oscar and Grumpy Cat are proof. Everyone wishes they could lash out
at their enemies, but most have the social graces to take things in stride. Otto
Anderson (Tom Hanks) has made an artform of complaints, finding fault in nearly
every aspect of his neatly controlled life. Yet like Tolstoy’s Cobbler, grace
is going to enter his life in unexpected forms. It’s a beautiful affirmation of
life that reminded me of Capra’s work, which alone is enough to recommend a
viewing.
The
story begins with Otto making his daily rounds. His house is immaculate, and he
wears a tie every day, even though he is retired. Though not employed by the homeowner’s
association, he makes sure every parked car has the proper permit. “It’s a
private road,” he angrily tells anyone who gets close. He insults a neighbor
walking her dog and groans at another exercising in spandex.
Otto has a dark
secret. He is trying to kill himself, preferably in a manner that doesn’t stain
the furniture. Fortunately, he is interrupted by a series of unwanted guests.
First, there is Marisol (Mariana Treviño), the loud, overfriendly new neighbor with
two small children. She brings him star quality Mexican food, but he is more concerned
with her poor driving skills. Then there is the stray cat that, despite Otto’s
best efforts, won’t die or leave him alone. Gradually, the audience learns more
about Otto’s background and the genesis of his misery. Slowly, he also starts
to branch out, even babysitting Marisol’s kids while she goes to the hospital
after her husband falls off the roof. When an old friend is threatened with
eviction, he finally comes out of his shell, revealing his depression and
gathering the neighbor to help the man keep his home.
Otto’s wife died
six months ago, and he can’t imagine continuing without her. She was the one
thing in his life that went right. His poor heart kept him from realizing his dream
in the army. An accident later kills their unborn son and leaves his wife paralyzed.
He devotes his life to making her comfortable. While this is certainly loving,
it also runs the risk of becoming an idol. Suicide seems like his only option,
and other people are just getting in the way returning to her arms. While sympathetic,
Marisol challenges him. “We cannot live without one another,” she tells him. It
is our job to stay in the Church Militant as long as we can, trusting the
Church Triumphant will help us.
The first two-thirds of Otto is a
masterpiece, revealing the protagonist’s motivations piecemeal as the plot
smoothly runs forward. Hanks and Treviño give outstanding performances. Then comes
several sudden and painfully awkward reminders that this isn’t Capra i. Otto
meets a “social media journalist” who wants to tell his story. At first, he
tells her to scram, but later she saves the day. She does this through an
embarrassing encounter, sticking a live streaming phone in the face of a
hapless employee of the homeowner’s association. Even with the best intentions,
it is never permissible to film someone in a confrontational manner without
their consent, especially if they are not a public figure.
It was
refreshing to see a modern movie reject the suicide of an older man and embrace
the idea that everyone can bring something to the world. When Otto does pass
away, it is on God’s time, not his, and his reward will be waiting. He really
did have “a wonderful life.”
This review first appeared in Catholic World Report on January 19th, 2023.
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