by Anna Gamboa
Charming story-wise, visually engaging, and paced well, The Surprise is an interesting return to the big screen for director Mike van Diem, whose last effort Character, nabbed the Oscar for Best Foreign Film. Contenting himself with commercial/advertising work until he found a project worthy of his attention—the short story the film was partly based on, by the Dutch author Belcampo.
Jacob (Jeroen van Konigsbrugge), the film’s protagonist, is a multimillionaire with nothing to live for—and after his mom’s passing has had enough of his failed suicide attempts to hand over the job to the pros. He signs a contract with a mysterious organization branding itself as a travel agency, guaranteeing to end his life in any manner of their choosing, without any foreknowledge of when his number would be up—and just happens to meet Anne (Georgina Verbaan), who professes to be another traveller, while choosing a casket for himself.
As expected after the slightly morbid meet-cute, the two arrange very awkward dates (highly amusing for the audience) and begin developing feelings for each other—a startling development for the otherwise stoic Jacob, who has not felt an iota of emotion since the age of four when his father was lost at sea. Further complicating matters is the fact that once signed, the contract cannot be revoked, and the agency’s henchmen are out to hunt Jacob and Anne down.
The production communicates with its visual language that life is messy, rife with unexpected people hidden in its nooks and crannies who may hinder any vague plans at suicide. Death, on the other hand, especially when you avail of a plan at the fictional Elysium travel agency—is orderly, and often neatly concluded, should one decide one has had enough of the mortal coil. It was amusing to watch this context unfold in the midst of watching among an audience composed mostly of seniors availing of their city-mandated discounts at the cinema.
But of course van Diem doesn’t simply present the argument that way. Death, in the end, in reality, is just as messy as life—it’s just the manner of going that gives it context, or a semblance of dignity. When Elysium’s Mr. Jones (Henry Goodman) argues that one day, his business may go legal one day, and his heirs may inherit a booming business, you actually believe him—but hope you never have to sign such an agreement.
Amusing to watch for the action-packed latter half of the romcom, and thought-provoking for its elegant little treatise on assisted death, The Surprise was supposed to be a film where you parked your brain outside the theater—but it’ll hustle itself in and join you at your seat anyway for the ride.
