Dixon's plan is to pass Navorski on to another jurisdiction: "You catch a small fish and unhook him very carefully. "Why doesn't he escape?" Dixon asks his underlings, as Navorski stands next to an open door that Dixon has deliberately left unguarded. "The Terminal" is like a sunny Kakfa story, in which it is the citizen who persecutes the bureaucracy.ĭixon wants Navorski out of the terminal because, well, he can't live there forever, but he shows every indication of being prepared to. He has slipped through a perfect logical loophole. The immigration service, and indeed the American legal system, has no way of dealing with him because Viktor does not do, or fail to do, any of the things the system is set up to prevent him from doing, or not doing. ![]() He has no guile, no hidden motives, no suspicion of others. Navorski is a man unlike any Dixon has ever encountered - a man who is exactly who he seems to be and claims to be. Navorski is returning luggage carts to the racks to collect the refund, and spending his profits on food. "He's found out about the quarters," he says one day, staring grimly at a surveillance monitor. Sometimes the rules are cruel, but he takes no joy in the cruelty.Īs Navorski lingers day after day in the arrivals lounge, Dixon's impatience grows. ![]() He goes by the rules, but he has no great love of the rules. In "The Terminal," Viktor Navorski's unintended victim is Dixon, the customs and immigrations official, played by Stanley Tucci with an intriguing balance between rigidity and curiosity. Spielberg gives Hanks the time and space to develop elaborate situations like those Tati was always getting himself into, situations where the lives of those around him became baffling because of Tati's own profound simplicity. It has another inspiration, the work of the French actor-filmmaker Jacques Tati. There is a humanity in its humor that reminds you of sequences in Chaplin or Keaton where comedy and sadness find a fragile balance. Spielberg, his actors and writers ( Sacha Gervasi and Jeff Nathanson) weave it into a human comedy that is gentle and true, that creates sympathy for all of its characters, that finds a tone that will carry them through, that made me unreasonably happy. He died in terminal 2F on November 12, 2022.This premise could have yielded a film of contrivance and labored invention. Nasseri moved back to Charles de Gaulle airport in October 2022. Afterward, he lived in a hotel on the money received from the film (DreamWorks reportedly paid him $250,000 for the use of his biography). He left the terminal in August 2006 to be hospitalized for an unspecified illness. When given the opportunity to live in France, he refused because the documents did not identify him as "Sir Alfred", and he claimed to have forgotten his native Persian. ![]() ![]() Reportedly, his mental health deteriorated over the years. He was eventually granted permission to either enter France or return to Iran, but he chose to live in the terminal and tell his story to anyone who will listen. French authorities wouldn't let him leave the airport, so remained in Terminal One, a stateless person with nowhere else to go. He landed at Charles De Gaulle Airport near Paris in 1988, after being denied entry into England because his Iranian passport and United Nations refugee certificate had been stolen. The movie was inspired by the story of Mehran Karimi Nasseri.
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