I'll give The Last Suit this much: it has a novelty to it I had not yet encountered -- namely, a story about Polish Jewish immigrants in Argentina. Typically movies about Jewish people are either seen through the lens of American perspectives, or if they are foreign films, either German or Israeli -- for obvious reasons. Conversely, most films from Latin America are specific to the Latino experience. This movie combines those two things.
Beyond that, however, Argentinian director Pablo Solarz oversimplifies things a tad, in so doing somewhat cheapening the truly tragic history of the Jewish people. Even though we learn that the elderly Abraham Bursztein (Miguel Ángel Solá) once witnessed the Nazi execution of both his parents as well as his sister, this movie never truly succeeds in bearing down the weight of the Holocaust. It's too busy following this eccentric man's travels and exploring diversions with people he comes across.
We do learn that he was born in 1927. A reference to the iPhone 6 by one of his great grandchildren establishes the present day to be fully modern: the story is set now. Being released in Argentina in 2017, that would make Abraham 90 years old. Miguel Ángel Solá was born in 1950, which means the actor was significantly aged for the part. I'll admit the movie's makeup department does a good job here.
Abraham, disillusioned with grown children who now want to put him in a retirement home (he's ninety, for fuck's sake), skips town in Argentina and takes flight to Europe, on his way to the Warsaw of his youth to reunite with the best friend who nursed him back to health after returning from a concentration camp. The first stop is Madrid, where his one estranged daughter still live. He travels, over the course of the story, from Madrid through Germany -- much as he tries to get to Poland without having to set foot in Germany -- to Warsaw.
Other characters come and go through his travels. The young man sitting next to him on the airplane, who gives him a ride to his hostel. The older woman working the front desk at the hostel, who takes him out. And potentially the most problematic, the middle-aged German woman he meets on the train who seems to exist only as an avatar for German's national shame about the Holocaust. "Things have changed in Germany," she says, after speaking to him in Yiddish because she studied it in college, and then spends a good portion of the film being a sort of German Good Samaritan for his benefit.
All of this is readily engaging, but never really gets to the meat of the issues, or particularly the history at play. Furthermore, it's maybe halfway through the film before we get flashbacks to 1945 Warsaw, and the scenes of Abraham being nursed by the young friend he's now searching for -- the lack detail and context, to the point that they fail to ring true. Those scenes in particular feel a little like watching an amateur play.
The Last Suit does have its charms. It's about a cranky old man bringing a suit back to a friend, now a taylor (hence the film's title), he hasn't seen in seventy years. Those charges are incongruous with the horrors in the man's past, barely touched on, mentioned almost in passing. Those family murders are only brought up as justification for Abraham's hatred of all Germans. Predictably, his heart softens with the German woman after a while.
It's all just too tidy. As a film, there's nothing terribly wrong with The Last Suit, but neither does it ever feel quite right.