The German language I’m Your Man finds Englishman Dan Stevens further pushing that talent envelope of his. Not only does he fiercely and fluently speak the German language throughout, but he does so as a humanoid robot named Tom. He stars opposite the complicated and conflicted Alma (a mesmerizing Maren Eggert). She’s a top scientist in her country and her extensive study of past civilizations cannot prepare her for the task at hand.
Due to her educational and professional prowess, she has been selected as an “expert” to evaluate Tom. She is to focus on his algorithm, demeanor, and programmed ability to woo her and not only capture her heart—but also to compliment her in countless and unspeakable ways.
At first, it is as awkward as it would seem. The timeline is in the near future or even the present. There is nothing about I’m Your Man to indicate that this is a time period other than the current moment right now. As such, filmmaker Maria Schrader (who co-wrote the screenplay with Maria Schrader, based on the short story by Emma Braslavsky) works a palette that is grounded in a reality that one can feel to your core. This is largely due to the unique nature of the narrative, coupled with the performances of two leads, that are commanding to the least.
Initially, Alma wants the absolute minimum when it comes to interaction with Tom. Separate beds, little communication—and despite his best charming and downright loveable efforts—nothing seems to be cracking the eggshell of toughness that makes up Alma’s personality. She sees this as romantic as her scholarly studies of ancient communication among ancient cultures. Yet, there he is with his vast knowledge, delivered in a way that never comes across even remotely smartly-alecky. After all, he is a computer, but as the film progresses, Tom is so much more.
From the way he processes the news that his entire reason (a la programming) is best utilized by Alma if he simply keeps his contribution to conversation to a minimum—to put it mildly—is not only played as robotically confused meets “does not compute” with an innate humanity that every soul watching can identify. His raison-de-vivre is shaken to its core, yet as a robotic humanoid would, Tom simply moves forward. He instead focuses on continue to please her in whatever form it takes—even if it is spending all day and night in his tiny room that doubles for the laundry room.
Sure, Stevens is easy on the eyes. But it isn’t even close to being the reason why a love story may happen in I’m Your Man after all. Every single choice that the actor makes as Schrader’s story progresses is pitch-perfect technically, emotively, and even the way with which he carries himself and utilizes the 42 muscles that comprise the human face. We saw that in a different way in the Eurovision Song Contest: The Story of Fire Saga
The thing is the English actor (and future James Bond, more on that soon!) is not performing in a vacuum. Eggert has a character arc over the film’s one-hour and 42 minutes running time that thespians dream about tackling. The way that Alma evolves and most importantly, why she is altered—largely by Tom—is handled with such an organic hand. The entire experience, what with her being a scientist and how that defines her… it would make perfect sense that at a minimum that would be how she would approach this landscape. As much as the camera adores Stevens, it literally falls in love with Eggert. Like any character worth its weight in salt, Alma isn’t simply an appreciator of culture and the ways that it has evolved manually and with technology.
I’m Your Man seems as if it would be a straightforward story. There are even echoes of the Joaquin Phoenix Her, at least from the questions it poses point of view. What better forum to have these ethical and human inquiries posed by the study, but most importantly analyzed with some incredibly real and romantic entanglements.
It is a film that certainly flirts with its existential elements. But through the gifted hands of helmer Schrader, it is handled with humor, honesty, and true character faults and strengths laid out there for the world to see. Eggert and Stevens have something that is beyond electric.
From the moment they meet in a cabaret-type environment where others are basically doing the same thing and under the same guise, the experiment parameters have been set. It is through that lens that the entire remainder of the film is allowed to flourish, giving audiences a societal experience that is equally fascinating as it is ingratiating.
Grade: A-