As a cinephile with a penchant for the offbeat and quirky, I found myself utterly captivated by Max Train’s charming debut, “James”. It’s not every day that a film about a stolen bike manages to evoke comparisons to neorealist classics like “Bicycle Thieves” and the early works of Jim Jarmusch. The film’s deadpan style and black-and-white aesthetic are reminiscent of a vintage silent comedy, with our protagonist, James, stumbling through life like a modern-day Buster Keaton.
Since the release of “Bicycle Thieves” back in 1948, it’s been rare to find a film that centers so intently on the theme of bike theft like “James,” which made its world debut at the Oldenburg Film Festival. However, this doesn’t mean that Max Train’s offbeat new comedy shares many similarities with Vittorio De Sica’s neorealist masterpiece, except for both being filmed in black and white. In fact, the kind of movie that could have been coined as “quirky,” it is more reminiscent of Jim Jarmusch’s early works, particularly in its dry humor. Ideally suited for a late-night viewing following some drinks, this Canadian indie once again showcases the festival uncovering a small-scale treasure.
My gaming journey starts with me, a troubled soul named James, who’s known for his reckless drinking and explosive temper. It all kicks off with a brutal arrest that lands me in the hot seat of a detective’s interrogation room, eager to understand my relentless criminal pursuit against one man. The story then flashes back to my rock-bottom moments, where I find myself single-rooming it in a church shelter after getting kicked out by my girlfriend due to my rage issues. Even attempting to grab a bite at a noodle joint ends up with me barely escaping with all fingers intact, thanks to the swift hands of the offended Japanese cooks.
James’ life takes an unexpected turn when he finds a piece of a vintage bicycle frame in the trash, collects more parts, and builds his own bike. This new mode of transportation helps him secure a job as a courier. Things seem to be going well for him until he delivers a package to a butcher shop. The shop’s eccentric owner, Valentin DeWolfe (James Cowley), identifies the rare Italian-made frame from the 1940s and offers an extravagant sum to buy it. When his proposal is declined, he hires two low-level crooks to steal the bike. This sets James off on a challenging adventure through the underworld of Vancouver, trying to recover his stolen bicycle and avoid slipping back into despair.
Although some parts are quite light and not every joke hits the mark, there’s a fair share that does. For instance, certain jokes, such as the indecipherable banter of the heavily-accented Irish bike thieves, have lost their charm over time. These jokes linger beyond their expiration date. The narrative structure, which involves James interacting with a mysterious Japanese woman (played exceptionally well by Yumi Nagashima) who’s also chasing the same bike, wanders aimlessly at times, making the movie feel longer than its actual duration.
Although it has some shortcomings, the film titled “James” exhibits a subtle, quirky charm, at times mirroring the visual humor of an old silent comedy, complete with a central character who navigates life like a contemporary version of Buster Keaton. Despite its modest budget, this debut feature appears exceptionally refined, boasting a folk and blues soundtrack (composed by Danny Eberhardt, Sally Jorgensen, and Max Train) that significantly enhances its unique atmosphere.
The wiry Beatch carries the film ably, finding the dark humor in his protagonist while resisting the urge to play on the audience’s sympathy, and Paulina Munoz delivers a sterling supporting turn as the collector’s sister who finds herself sympathetic to James’ plight.
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2024-09-13 07:24