The Man from London

Although based on the same-titled mystery by Georges Simenon, Hungarian director Béla Tarr's adaptation is less an exercise in suspense than a virtuoso exhibition of camera moves and atmosphere. The slender plot focuses on Maloin (Miroslav Krobot), a harborside railway worker who witnesses two men scuffling over a briefcase (thrown onto shore from a ship) containing a stash of British currency. Shortly thereafter, an English investigator shows up looking for the thief. The Man from London also features a subplot concerning Maloin's sudden desire to remove his daughter, Henriette (Erika Bók), from an unflattering job, but little comes of it apart from the appearance of Tilda Swinton as Maloin's unhappy wife, Camélia. Narrative, in any event, is hardly Tarr's main interest; imagery is far more important, and here the film impresses with its extraordinary use of light and shadow in the black-and-white compositions, coupled with virtuoso tracking shots that border on the amazing (even if some—often just following characters as they walk silently across squares and over roads—grow tedious). On the other hand, the frequently glacial recitation of the sparse dialogue makes this long film slow-going. Still, The Man from London is an intriguing example of the director's very personal cinematic vision, so this should be considered a strong optional purchase. (F. Swietek)