The Farewell (1966)

Directed by: Roland Verhavert | 86 minutes | drama | Actors: Petra Laseur, Julien Schoenaerts, Senne Rouffaer, Kris Betz, Edward Deleu, Marlene Edeling, Bert Struys, Pros Verbruggen, Jack Sels, Rudi Delhem, Marilou Mermans

The apple doesn’t fall far from the tree. Matthias Schoenaerts proves that once again. The Flemish actor has been working hard from a young age and seems to be breaking through internationally after his crushing lead role in the Oscar nominated film ‘Rundskop’ (2011). He learned the trade from his father Julien (1925-2006), who is regarded by both the press and the public as one of the greatest actors in Flanders. He played mainly in the theatre, but occasionally made a trip to the silver screen or television. In 1955 Julien Schoenaerts made his debut as a film actor with the leading role in the film ‘Meeuwen die in de haven’ by Roland Verhavert, Ivo Michiels and Rik Kuypers. Ten years later he collaborated again with Verhavert and Michiels for the thematically and stylistically related ‘The farewell’ to ‘Meeuwen die in de haven’ (1966), in which he stars alongside the Dutch actress Petra Laseur.

‘The Farewell’ is a melancholy film about the theme of saying goodbye. Schoenaerts plays Pierre Wesselmans, a sailor who works on the Belgian merchant ship Gambetta, which is moored in the port of Antwerp. The government needs the ship for a secret mission, but no one knows exactly what that mission is and when it will start. For the crew this means that they have to report to the Gambetta every day at ten o’clock, because that could just be the day on which they can start their mission. Wesselmans is lucky that he lives in the city and can visit his family every evening. However, it also means that he has to say goodbye to his wife Laure (Petra Laseur) and their two children every day. His colleague Jessen (Senne Rouffaer) is not so lucky; his girlfriend lives more than a hundred kilometers away. The uncertainty begins to eat away at both Wesselmans and Jessen. Wesselmans is also torn by traumatic memories of previous missions.

The port of Antwerp, with its long deserted quays, plays a central role in ‘The Farewell’, a sober film that relies mainly on its style. The emptiness of the harbor symbolizes the state of mind of sailors such as Wesselmans and Jessen, who struggle with feelings of uncertainty and fear of what is to come. In Michiels’ novel of the same name, the reader can hold on to the narrator, who lets you know what is going on in the characters. In the film adaptation there is no such support, which does not make the film more accessible. Those who do not know the book will have to figure out for themselves what makes Wesselmans so melancholy. Flashbacks of his past lift a corner of the veil, but unfortunately do not provide the desired handles that the viewer actually needs to properly understand the central character.

Silent images of errant characters, without you knowing what they are looking for; it could be a heavy, long seat and it is. Thanks to the engaging play of Julien Schoenaerts, however, it is fine to sit out and you empathize with Wesselmans. He keeps the story alive and the film captivating. Laseur, Rouffaer and Edward Deleu as the dandy neighbor of the Wesselmans family also play fine roles. The slow, artistic character and the distant approach (there is a clear elaboration on the experimental cinema that was made in France in the 1950s) will probably not captivate everyone for as long. However, Schoenaerts drags you – whether you like it or not – into his inner struggle against his unrest, uncertainty and fear. It is easy to see where son Matthias got his talent from!