Review of Toni Erdmann (2016) by Bob H — 23 Sep 2017

Portraying this film as a comedy was a mistake. Granted, it definitely has some comic, clever moments or brief episodes that make one wonder how in the world the father, Winifred (impersonating a Toni Erdmann) appears and just as easily vanishes from his daughter's various corporate meetings and social appearances, and how he somehow weasels his way into her business affairs and convinces her business associates of his authenticity.

Even less believable is her tendency to go along with, or become embroiled in his machinations. Filmwriter Maren Ade has indulged herself in making this film by adding some bizarre, unbelievable elements and twists that may entertain some viewers, but alienate others: Winifred's false teeth, his unseemly wig and unkept appearance (which Ines's business associates never question), Ines's unplanned decision to host her brithday social in the nude, Winifred's donning a Bulgerian Kukeri costume, and his sudden participation in a party where guests are designing eggs and where Ina not only gets recruited to design one herself, but then belts out a Whitney Houston song while her father accompanies her on piano.

Some of the scenes verge on the absurd, and then suddenly come crashing down in an attempt, whether successful or not, to depict a convincing moment of some sort of communication break-through between father and daughter.

I agree with the many other audience reviewers who bemoan the length of the film, a fact most "professional" critics either ignore or suggest is not a major flaw. It is, however, and a skilled film editor could easily have rectified this.

Although we see fleeting moments of emotional breakthroughs in the character of Ines, one questions how much she has truly changed when we learn at the film's end that she has accepted the corporate promotion she wanted in Asia.