Good Performances by Attractive Actors Fail to Breathe Life into this Tale

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Ozren is a small boy of Croatian descent who lives in Vienna with his mother, Silvija in the mid-1980s. As a single parent she emigrated to Vienna from the former Yugoslavia in the hope of a better life. Like any child, he very mu...

Hurensohn

THE WHORE&apos;S SON (&apos;Hurensohn&apos;), based on a novel by Gabriel Loidolt and translated to the screen by Michael Glawogger is an interesting premise for a film - how does a child learn to accept the fact that his mother is a prostitute? The problem with the cinematic translation under Michael Sturminger&apos;s direction is that the tale becomes a one-note song. The ingredients seem to be right - gorgeous photography, beautiful actors - but the possibilities are simply never realized.

Covering a period of about fourteen or so years the film introduces Silvija (the very beautiful and fragile appearing Chulpan Khamatova), a Croatian refugee in Germany who throws out her abusive boyfriend who is the father of her infant son Ozren and strikes out on her own. Her only way to make ends meet is through prostitution, and while she adores her son, she by necessity must leave him with his Aunt Ljiljana (Ina Gogalova) while she plies her trade. The film follows the growth of the boy to his early teens when his role is played by the very sensitive, charismatic actor Stanislav Lisnic. Ozren is convinced that his mother is a waitress, until his friends and adults in the neighborhood (including fellow hookers) force him to realize Silvija&apos;s true profession. Silvija manages to provide Ozren with the basics of life - clothes, food, shelter, and love - and Ozren responds to her with unconditional love: even when he accepts the fact that Silvija is a prostitute he maintains his adoration (is it beyond that???) for her. There are sidebars that mix Yugoslavian politics with the plight of the immigrants in a foreign adopted land and there is a superficial relationship between Ozren and a classmate that seems to go nowhere. In the end we are essentially where we started: a son loves his mother despite her profession and her personality defects.

The film is a pleasure to view because of the excellent camera work by cinematographer Jürgen Jürges, an apt musical score by Adrian Vonwiller, and actors are all strong, especially Stanislav Lisnic and Chulpan Khamatova. The story outline has potential. It is a shame that potential got lost in the production values. Grady Harp

THE WHORE'S SON ('Hurensohn'), based on a novel by Gabriel Loidolt and translated to the screen by Michael Glawogger is an interesting premise for a film - how does a child learn to accept the fact that his mother is a prostitute? The problem with the cinematic translation under Michael Sturminger's direction is that the tale becomes a one-note song. The ingredients seem to be right - gorgeous photography, beautiful actors - but the possibilities are simply never realized.

Covering a period of about fourteen or so years the film introduces Silvija (the very beautiful and fragile appearing Chulpan Khamatova), a Croatian refugee in Germany who throws out her abusive boyfriend who is the father of her infant son Ozren and strikes out on her own. Her only way to make ends meet is through prostitution, and while she adores her son, she by necessity must leave him with his Aunt Ljiljana (Ina Gogalova) while she plies her trade. The film follows the growth of the boy to his early teens when his role is played by the very sensitive, charismatic actor Stanislav Lisnic. Ozren is convinced that his mother is a waitress, until his friends and adults in the neighborhood (including fellow hookers) force him to realize Silvija's true profession. Silvija manages to provide Ozren with the basics of life - clothes, food, shelter, and love - and Ozren responds to her with unconditional love: even when he accepts the fact that Silvija is a prostitute he maintains his adoration (is it beyond that???) for her. There are sidebars that mix Yugoslavian politics with the plight of the immigrants in a foreign adopted land and there is a superficial relationship between Ozren and a classmate that seems to go nowhere. In the end we are essentially where we started: a son loves his mother despite her profession and her personality defects.

The film is a pleasure to view because of the excellent camera work by cinematographer Jürgen Jürges, an apt musical score by Adrian Vonwiller, and actors are all strong, especially Stanislav Lisnic and Chulpan Khamatova. The story outline has potential. It is a shame that potential got lost in the production values. Grady Harp

Ozren is a small boy of Croatian descent who lives in Vienna with his mother, Silvija in the mid-1980s. As a single parent she emigrated to Vienna from the former Yugoslavia in the hope of a better life. Like any child, he very much looks up to his mother. She is a waitress and when she goes out to work at night, his aunt, Ljiljana comes to take care of him. Then we see him back in elementary school, where he is called as whore's boy. Although he does not understand the meaning of the swear word, he is intrigued by it: his mother works as a waitress, right?

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Hurensohn

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