At first glance, “Swiss Army Man” seems like an endurance test of how much juvenile humor an audience can take seriously. The film is literally about a flatulent dead corpse, who becomes a handy survival tool that can produce water, fire a harpoon, and even come to life. It has certainly intrigued cinephiles since its premiere at Sundance earlier this year, with a near polarizing critical reaction that had some walking right out of the theater. Those who loved it commended it as exciting and effectively existential, while those who turned their nose up in disgust deemed it infantile, a vision playing on its own filth. However, infantile seems to be what directing duo Dan Kwan and Daniel Scheinert (adorably named “Daniels”) are aiming for. They unravel a surreal narrative that slowly begins to reveal a hidden charm that is surprisingly soulful, only to take a sharp turn that drops into an area that is deceptively dark.
The film opens with Hank (Paul Dano) a man on the brink of taking his own life on a seemingly deserted island until he spots a man (Daniel Radcliffe) washed up on shore. To his disappointment, the man appears to be deceased with the only sign of life being the bowel movements escaping from his body. However, these movements are so powerful that they propel the corpse through the water like a jet ski. Max uses this to get off the island, later discovering that the corpse -- which he names Manny-- turns out to be a multipurpose tool, convenient for finding his way home. Manny is not just a physical lifesaver but a good companion as he begins to seemingly come back to life with childlike naivety. It is here that, on top of finding a way home, Max also begins to describe his interpretation of the human condition to further bring Manny back to life.
The concept is so bizarre it could easily be a stolen script from "Rick and Morty," a show known for its mix of disturbing imagery with surreal humor. Yet, the film does carry a surprising amount of charm for the majority of its run-time thanks to the direction of Daniels. The creativity on display, from the set designs to the visual effects, has an endearing juvenile appeal. It does tend to meander in musical montages, but they are truly visual splendors that evoke the work of Spike Jonze and Michel Gondry. Daniels are not the only credit to the film's enjoyment, as Daniel Radcliffe gives the performance of his career as the not-so-lifeless corpse Manny. The way he delivers his childlike innocence of the human condition is funny and relatable which is a feat as he also has to simultaneously limit his speech and movement. It's a role that requires a great amount of demand for an actor and it was bold of him to even agree to take it given the nature of the character. All of these elements make "Swiss Army Man" seem like the feel-good indie darling of the summer, that is until the movie reaches its end.
What is most striking about "Swiss Army Man" is just how much depth it has underneath the body horror and hipster melodies. At first, a majority of the philosophy the film spurts derives around conversations about farts and sex; the kind you might here at an Art School college party. It's entertaining, albeit shallow at first, but by the third act, "Swiss Army Man" reveals itself as a much darker film with morbid themes. It becomes a character study about loneliness, love, and insanity that steers the story into an uncomfortable territory. This is where the film may turn audiences off who are just looking for a quirky comedy, but for those who are used to these types of tonal shifts it may enhance their viewing experience. The best comparison is probably James Gunn's "Super," even though that film seems to fall more gradually into discomfort than "Swiss Army Man" does. Perhaps the biggest issue with the film is how it handles its dark ending. Although it is a bold direction, the mix of certain plot elements could've been better, leaving you with an ending that is intriguingly confusing but definitely feels jumbled.
Overall, "Swiss Army Man" is still one of the most exciting films to come out, so far, this year. Daniels took a risky concept for their first feature that is a visual extravaganza of a film. Daniel Radcliffe shines in a role that he may not get awards recognition for due to its nature, but it's a shame if he doesn't. The characterizations between Hank and Manny explore a plethora of themes, with even a subtle subtext of sexual orientation. It's a film that challenges its audience with a dark plot twist that will undoubtedly lead to long conversations at the local cafe or brewery from philosophy majors. It's the right amount of oddball storytelling mixed with an emotional authenticity that makes for a great summer art house film.
