Answer Man
Tuesday, May 30th, 2006A while back, I saw the movie Caché. It’s about this couple that find a videotape left on their doorstep. The tape is of their house, just filming them coming and going and such. But who made it, and why? More tapes get left throughout the film, secrets get revealed, and so on. Some major questions go unanswered at the end of the movie so you leave the theater scratching your head, wondering what the hell that was all about. Yeah, one of those movies. Oh and it’s in French with subtitles. You already know whether it’s a movie you’ll be interested in.
After thinking it over, I came up with a theory that I thought made it all work. In fact, it made so much sense that I thought there must be lots of people online that came to the same conclusions. After poring through discussions on IMDB and other sites that I found, I didn’t see anyone reach the same conclusion as me. I thought either I’m crazy or I’m brilliant! Those two aren’t mutually exclusive, but I decided that I was brilliant and left it at that.
Then I read a Roger Ebert “Answer Man” column where someone wrote in about some theory they had. I always read the Answer Man column. It runs every 2 weeks. Ebert just lives & breathes movies. I have a lot of respect for him. I don’t always agree with him of course, but very often I do, and he’s a great writer. In Answer Man, he’ll respond to reader’s questions. Sometimes they’re just questions about his opinion on something and other times it’s a specific question about a movie. It’s not uncommon to see a question about a movie and he’ll reply “I wasn’t sure so I asked the movie’s director, Martin Scorcese…” or “well back in 1992 I was having dinner with Robert Altman and he said…”. It’s like whoa, I guess that’s one way to find out!
Anyway, so someone wrote in with a theory about Caché and neither him nor Ebert had it right! Now I just had to write to Ebert and enlighten him as to what the movie was really all about. I imagined him reading it, thinking “This man’s a genius! Why didn’t I see that?” Maybe he’d be so impressed, he’d invite me to dinner if I’m ever in Chicago. I’d tell him to bring Richard Roeper along. I’d have to study a few films really hard and steer conversation to them so I can sound like I know what I’m talking about. Maybe I’d start by commenting on how I like his “Great Movies” articles about 2001: A Space Odyssey and The Birth of a Nation. Then I’d probably be the millionth person to tell him how wrong he was about Napoleon Dynamite and Fight Club. Then I’d turn to Richard and say how I read every column he writes, even the ones about athletes that I’ve never heard of (I don’t follow sports… at all) and tell him how awesome it was when he devoted two columns to ripping apart the “facts” of Ann Coulter’s book. But I’d say he was very wrong when he said on Ebert & Roeper that Camilla Belle is a thousand times more beautiful than Lindsay Lohan. Please. Lindsay Lohan is precisely 1.286 times more beautiful than Camilla Belle. End of subject.
Well that was over a month ago that I wrote to him and I figured he had hit the delete key but I was at least hoping that he had read it. Then I’m reading his latest Answer Man column today and there I am! My e-mail was greatly edited down and I think it makes me sound like a bit of a kook because of that, even though it does a pretty accurate job of capturing the gist of my argument. But he apparently didn’t see the genius in my theory on the movie.
First off, publishing it six weeks later makes it sound like I’m bringing up an old subject when I wrote to him the day after he answered a question about the movie. But more importantly, he doesn’t really address my theory, which makes me think he must be dismissing it as just another wacky theory he’s heard. Oh well, I guess I’ll just have to play the part of the misunderstood genius. At least he found my e-mail worthy of addressing, and maybe some other people out there will flood him with e-mails telling him how I cleared it all up for them.
I’m not sure who is going to want to read the rest of this post, because I can’t imagine many of you have seen Caché, and therefore none of it will make sense to you. But here it is.
** Spoiler warning ** if you think you’re actually going to watch the movie.
First, here’s the previous question someone else asked, and his response. (Copied from here.)
Q. (Spoiler warning) My wife and I attended a screening of “Cache.” Everyone in the theater was puzzled by the last scene. Does the last scene at the school reveal the identity of who had been doing the tapings? Someone in the audience said they thought they saw the two sons talking to each other as though this provided a possible answer.
Al and Pat Ralston, Fullerton, Calif.
A. “Cache” has struck a nerve, and is doing surprisingly good business in the United States and Europe. I’m asked about it constantly, as if there is an answer. The last scene does indeed show the two sons talking, and there should be no way they know each other. But what does that explain? Does it account for the videos? Consider that the film’s last shot is exactly in the style of the videos that were received. Is someone else behind the camera? The film offers no possible closure.
Note how he says there is no possible closure. Not true, as I try to point out. Again I’d like to state that this is edited down from my amazing, astounding thesis. I wish I had kept a copy of the complete e-mail I sent to him but I had to fill it into one of those online forms instead of going through my e-mail client so it’s gone for good. It really went into a lot more detail, but I don’t feel like writing all that up again and I doubt any of you really care. (Copied from this week’s column.)
Q. No one in Michael Haneke’s “Cache” made those videotapes. The culprit is us, the viewing audience. There’s even a scene early in the film where Georges tries to figure out where the camera could have been, and can’t figure out how he could have walked right past it without seeing it. That’s because from his perspective, the camera wasn’t “there” at all. I took the film as a commentary on how voyeuristic our society has become. Whenever the movie switches to the videotape point of view, we stare, waiting for what’s going to happen. We become the voyeurs. I usually don’t go off on crazy theories like this, but you can’t take the movie literally. You mention that it doesn’t make sense that the two boys would be talking in the last shot; why couldn’t they know each other from school? They could even be unaware of who each others’ father is.
Kevin McMillen, Rochester, N.Y.
A. “Cache” is the movie people will not stop devising theories about, and although I’ve discussed it several times in the Answer Man, the subject is apparently not closed. I’m at the Cannes Film Festival, where I got into a discussion of “Cache” with the director William Friedkin. He told me: “I was talking to Barbet Schroeder, one of the producers on the film, and he said that after Haneke screened it, everybody told him he was crazy, because 99 percent of the audience would never see those two obscure kids in the upper left hand corner of the final shot. So he re-edited it, put in a closer shot so you could see it was them, and put in the dialogue of what they were saying to each other. Then his psychiatrist in Vienna told him, ‘No, no! Do it the way you wanted!’ So he took all that stuff out again.”
What were the kids saying? I asked.
“That,” Friedkin said, “I don’t know.”

