Takeaway Scene Rutger Hauer's biggest, joyful smile is for a bathtub.

The Good This is one of very few successful screen transpositions of an introspective literary work. The dialogue is sparse and in two languages but the film while making small adjustments here and there conveys all the internal monologue of Joseph roth's novella. Hauer. Probably his best performance (although I also like his understated character in lady Hawke). He is the icon of a getleman drunk. The photography. natural, unobtrusive, realistic. The cast: A very heterogeneous looking cast that manages to fit in well and act natural in their respective roles. The women: For a very Catholic director, Olmi is very kind to almost the women in the movie, including extras, and they look attractive without losing their real, unpolished authenticit

The Not So Good The film is almost real time,with long contemplative moments, to the point that sometimes the flashbacks have more action that the main scene. For all its photographical and acting beauty, the going can be slow, and watching Hauer drinking one longs to join in. I haven't counted them, but I suspect that matching the movie glass for glass would be lethal (especially the Cafe'-Calva followed by an Absinthe in the morning)

The Strange Hauer is a character living and dressing in the 1930s filmed in 1980s Paris. And it fits seamlessly, the same way that the real, surviving old bistrots and locations fit in their modern surroundings. Olmi has taken advantage of a phenomenon familiar to us all walking in cities and performed a sleight of hand trick, aided by the costume design of Ms. Marchand that emphasizes the continuity between periods to blend characters in.

Andreas Kartak is one of life's dispossessed: a tramp, whiling away his days on the streets of Paris. One cold morning, a strange, distinguished gentleman offers him 200 francs, under the proviso that Kartak pay the money back- when he can- to Saint Therese in a nearby cathedral. So begins Kartak's quest to restore honor to his soul and meaning to his life by finding a way to return the money- after squandering it on copious amounts of wine and absinthe.

Based on Joseph Roth's posthumously released story of the same name, Ermanno Olmi's 'The Legend of the Holy Drinker' is a quiet, subtle drama that is moving and entertaining in equal measure. Olmi's restrained direction makes for a very interesting viewing experience. The film relies as much on tone and atmosphere as the screenplay- from Olmi and Tullio Kezich- to communicate the narrative and its' themes. The dialogue is sparse, but meaningful; no words are wasted, nor unnecessary speeches made.

The story is simple yet profound. Kartak's quest takes on a spiritual, epic dimension as he struggles to find his way back into society and to keep his pledge to the distinguished stranger. His character is well-rounded and believable, a man of honor thrust into a situation that would turn most dishonourable. He battles with himself and his principles, not to mention his memories of a past life long left behind; often losing those battles and finding solace in a bottle of cava. Kartak is a character many will see aspects of themselves in: a fascinating, flawed and thoroughly real creation.

The film is beautiful in terms of visuals. Dante Spinotti's cinematography has a rhythmic, mythical quality to it that suits the narrative perfectly. He captures the stark, cold charm of the Parisian streets with real verve and style. Gianni Quaranta's production design is striking and timeless. The film looks like it is set in the thirties, though the time period is never made definitive. His work is rich in detail and adds another dimension of authenticity to the proceedings. The same can be said for Jean-Jacques Caziot and Philippe Turlure's naturalistic set decoration and the inspired costume design from Anne-Marie Marchand.

Rutger Hauer stars as Kartak and delivers a moving, understated performance that is one of the finest he ever gave. His Kartak is a vulnerable man for whom honor and dignity mean the world, though his alcoholism has overtaken his principles. Hauer disappears into the character so thoroughly you genuinely forget you're watching an actor on screen.

Hauer was a performer of great versatility, intelligence and depth- not to mention charm- and he demonstrates that fact here. Though he will likely largely be remembered for his similarly powerful performance as Roy Batty in 'Blade Runner', his work as Kartak is truly magnificent and unaffectedly profound.

The supporting cast deliver generally admirable performances, with Anthony Quayle's as the distinguished stranger being a standout. He brings to the role the right amount of dignity and mystery that leaves an ineradicable impression on the viewer. Joseph De Medina also does good work as an obese hustler Kartak encounters, and Sandrine Dumas is utterly charming as Gaby, something of a love interest for Kartak; but poor post-dubbing of many of these secondary players diminishes the power of their performances, while also lessening the impact of their scenes.

'The Legend of the Holy Drinker' is an affecting film that tells a deceptively simple tale masterfully. As a character study, it works wonderfully, with Rutger Hauer delivering what could arguably be called the finest performance of his career. Director Ermanno Olmi has brought to audiences a memorable, thoughtful film that will surely be beloved by any who care to give it their time. Joseph Roth's stories are notoriously difficult to bring to the screen; this is easily the best adaptation of his work to date. 'The Legend of the Holy Drinker' is quiet, clever and utterly compelling.

Dutch actor Rutger Hauer plays the part of Andreas Kartak a Catholic-Pole and tramp living in Paris. An ex-coal-miner he receives 200 francs from a well-to-do dapper gentleman (Anthony Quayle) as long as he donates part of it to charity. In appearance he sports medium-length wavy fairhair, a flatcap and moustache plus traces of coal-dust under his fingernails - a tell-tale sign of the trade of coal-miner - a rough-tough job to say the least and there are brief shots of Kartak in a Polish mine-shaft in an earlier life. He finds work, the company of women and the companionship of fellow Poles but is let down by his alcoholism, imprudence if not stupidity and an extreme sense of bad luck. The film based on Lemberg-born Jewish writer Joseph Roth's novella, shows warmth and a rich spiritual feel - it has the same sense of art & spirituality as Dostoyevsky's novel The Idiot featuring the epileptic and saintly Russian Prince Leo and fellow Russian Andrey Tarkovsky's art film Nostalghia (1983) perhaps relating to the difficulty of East Europeans/Slavs exiled from their homelands. The '80s were in some ways abrasive years. Paris is revealed as a timeless organically glamorous city. Why the film feels poignant is hard to describe. Along with his performance as the fairhaired adventurer Claude Van Horn in Roeg's Eureka (1983) this is Hauer's best ever performance.