Springen (1986)

• Year: 1986
• Released: 06 Mar 1986
• Country: Belgium
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt0184915/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/springen
• Metacritics:
• Available in: 720p, 1080p,
• Language: Dutch
• MPA Rating: N/A
• Genre: Comedy, Thriller
• Runtime: 105 min
• Writer: Fernand Auwera, Stijn Coninx, Jean-Pierre De Decker
• Director: Jean-Pierre De Decker
• Cast: Herbert Flack, Mark Verstraete, Maya van den Broecke
• Keywords:

5.0/10

Springen Storyline

The scene is set in an home for well off old people. But “Semper Vivax” is not just another retirement home. What its guests get there, which they would not in an ordinary establishment, is actually amazing : their best real-life memories are played out for them. Such is the bet of Axel, the cynical manager, and of Pipo, his assistant of genius, who are prepared to do anything to keep the customer satisfied. The only trouble is that there is nobody out there to turn into dreams the frustrations of the two men.—Guy Bellinger

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Springen Movie Reviews

A True Hidden Gem

A mostly gentle social satire on care for the elderly, but with some distinctly adult themes. Two very different men run a unique retirement home, but their differences threaten to interfere with its orderliness.

Themes of alienation, senility, dementia, confusion and repetition are explored, with running jokes about the number of times characters have played out the same scene. The calm routines of the home are contrasted well with the real world outside, particularly a revue bar and a family home, but the retirement home and its many hectares are an oasis with a pace of their own. A sub-plot about compulsory purchase is an irrelevance and can be ignored.

Some of the older characters fall into stereotypes, but with a cast this size it is inevitable. It is to the film’s credit that we are able to recognise so many. Suspension of disbelief is shared between audience and cast, as the residents are both aware of the falsity and absorbed in it, memorising speeches, performing opera and dance.

The climactic scene builds nicely, accelerating to a conclusion we can see coming but do nothing about. And we care; we know it is absurd, but we care about the characters.

The short, post-climax scene is necessary to round things off but no more than that. There is no real resolution beyond the reconnection if a child with a parent, and even a cheeky reminder of a mystery character whose role was never quite explained. Watch to the credits for insight into the title.