Review: 'The Robber'

The Robber is Filmhouse's third foray into film distribution. After the brilliant, but tragically under-exposed The Stoker and Vivan las Antipodas! their latest offering comes in the shape of a recent Austrian thriller dealing with a daring criminal who also happens to be a bit of a national sports hero. 

  Image courtesy of Filmhouse

Image courtesy of Filmhouse

Director Benjamin Heisenberg was inspired by real-life bank robber Johann Kastenberger  (also known as 'Pump-gun Ronnie' after his penchant for wearing a Ronald Reagan mask), but this film is nothing like your average cine-biopic. 

We first meet Johann (Andreas Lust) as he is about to leave prison: we see him training, running on the treadmill he has been allowed to have in his cell. His counsellor encourages his sporting aspirations, but at the same time he warns his that running won't pay his bills.  We don't wonder about what the protagonist will do once he is again a free man for very long - in quick succession he successfully robs a bank and unexpectedly triumphs at the annual Vienna marathon. The viewer is not offered any explanation on why Johann would so blatantly risk his newly-found freedom: his motives are never made clear, there are no easy explanations for any of his decisions. Is he so dependant on the adrenaline that only running can supply him with? Maybe. In a way, our robber is portrayed as something of an 'existentialist' anti-hero. As he says to his love interest Erika (Franziska Weisz) as she attempts to change his ways, 'What I do has nothing to do with what you call life'. Conjoining running with a certain kind of rebelliousness is certainly nothing new: in a way, Johann is reminiscent of Colin Smith, the disaffected protagonist of The Loneliness of the Long Distance RunnerUltimately, though, there is nothing obvious about this man, as Heisenberg always keeps the viewer's at arms' length, making his character almost inscrutable. Even the relationship between Johann and Erika is never injected with the kind of romantic fervour (read: emotional manipulation) we are so accustomed to, their intimate, but ultimately awkward encounters making the viewer feel like a distant observer. The film could certainly be seen as 'cold' and calculated, almost an attempt to scientifically dissect its lead - a distinctive directorial choice that will inevitably alienate some casual audiences.

This is not to say that The Robber  lacks immediate cinematic pleasures. Andreas Lust offers an outstanding lead performance in a role that is extremely demanding from both a physical and emotional perspective. The film is almost flawlessly paced (only the third act loses a bit of steam), with the action sequences shot with accomplished skill; robberies and ensuing chase sequences have a raw, almost visceral energy that knowingly sustain tension and keep the viewer enthralled until the film's predictably bitter end.

The Robber  will be at the Filmhouse from Friday 21st March. Tickets are available here