The Cars That Ate Paris

One hour into this movie and I wasn't exactly sure what kind of movie it was trying to "be". It starts off as a smalltown horror mystery of sorts but Peter Weir saddles it with so much absurdist black comedy the mystery all but evaporates and we're looking at something that is more weird/awkward than mysterious/surreal, more slow-ponderous than slow-absorbing, large parts of it reminiscent of Aki Kaurismaki and his static shots, cynical humor, deadpan delivery, and smalltown squalor. By the end of it however, the movie seems to emerge as some sort of societal parable, an allegory to the repression of a close-knit society that values appearances and tradition more than anything else and which must bury secrets in its own backyard to do so, but there's so much distraction and incoherence the point is never made with any clarity or force.

At one point the score turns Morricone circa Once Upon a Time in the West and we get a showdown in the street and young men dressed with cowboy hats. We get Carmageddon-style cars circling the statue of a cannon like Comanches painted for war. We get the vague promise of a subplot about car crash survivors turned vegetables who are kept in the hospital of the small town and who later turn up in a ball masque dressed in hoods and carton boxes (a nod to Shock Corridor?), but it never goes anywhere. Peter Weir went on to make such remarkable films as Picnic at Hanging Rock and The Last Wave, and while this never reaches the hypnotic levels of those films, it's intriguing in its own quirky awkward way. It's like a movie struggling with itself, a cult classic trying to break free from the confines of a forgettable eccentricity.

A camp horror classic and Weir's feature debut. It's smart, gross, cheeky, macabre and just great.

Don't watch it if you think low budget is the same as being 'amateurish' because it's not. And if you're not used to Australian English, well, try not to panic. Doesn't matter if you don't get every word - just go with it!

This is the kind of film you don't see much any more, perhaps a product of its era. They weren't thinking much about marketing or target demographics - these filmmakers were just having a lot of fun, experimenting and coming up with something unique. Genre crossing, challenging and freaky, it also taps into some big themes about Australian identity and paranoia.

This little film appears to have stirred up radical dissent amongst many reviewers. Comments ranging from "stupid," "dull," "dark," "gothic," even "evil!" (I liked that one particularly!) Some other moron figured it was the worst film he'd ever seen. (Obviously he didn't sit through I SPIT ON YOUR GRAVE!)

Now time-out here...let's just back it up a bit! Peter Weir is not what you would term a prolific director. He has made just 15 features in exactly 30 years - he doesn't rush things! This was his second turn in the chair. He had at his disposal a budget not much more than that for a 60 second TV Commercial and he was under pressure to finish the flick in time for its premiere at the Cannes Film Festival that year. He did OK and in a master stroke of marketing, managed to get the "star" of the movie - the spiked beetle, on to the Cannes streets where it caused a media sensation. The film was very well received by an appreciative audience.

So, the story is far-fetched? Some of the residents of tiny bush-town Paris deliberately cause auto-wrecks to boost the town's economy. Sure its a way left-field storyline and the acting was never going to win an Oscar nomination. It has though, that indefinable "something" and is early Peter Weir - a study of people in crisis or near crisis? It deserves to be seen for what it is, and the manner in which it shaped Peter Weir's future. THE CARS THAT ATE PARIS was in effect a springboard that gave Weir the opportunity to make PICNIC AT HANGING ROCK the following year. If "Paris" had been a total flop he may never have been asked to direct it!

Watch it again and look for innovation, clever camera angles, smart direction...they're all there! This is relegated now to almost cult film-status in Australia, it is somewhat of a time-capsule!

The only question I have, is who changed the name of this film to THE CARS THAT ATE PEOPLE for US release? especially as they have their OWN "Paris"...in Texas!

Before Peter Weir got really famous, he made this strange but worth seeing flick about a small town in Australia whose local economy centers on car wrecks, and how they draw an outsider in. "The Cars That Ate Paris" doesn't star anyone whom you would recognize, and there's no big action scenes here, but that actually gives the movie a more realistic feeling.

I should identify that this is not a movie for those with short attention spans. It's not likely to stick heavily in your memory the way that most of Peter Weir's movies do (it's certainly not my favorite of his movies). But still, it's something to check out as a historical reference if nothing else.

"I can drive!" You'll probably feel like you can too.

First, let me note that there seems to be different versions of the film floating around on home video. A few reviews complain about poorly lit or dark scenes. Someone mentioned that there's a bad pan & scan version floating around. And apparently, in the early history of the film, there was a badly cut version making the rounds with the title Cars That Eat People. That may have even ended up on VHS. So make sure you get the Home Vision Entertainment DVD released in 2003. It also has director Peter Weir's film The Plumber (1979) as a bonus, plus interviews with Weir about each film, as well as trailers. More importantly, it has a pristine, original widescreen cut of The Cars That Ate Paris. As long as you have your television or monitor set up correctly, the film has remarkably crisp, frequently beautiful cinematography that looks like it could have been shot yesterday.

There also seems to be a lot of misunderstanding about the nature of the film. Basically, The Cars That Ate Paris is a quirky art-house drama. Yes, it has elements of (macabre) humor, horror and many other genres, but those are not a focus. The Cars That Ate Paris is as much a western as it is a horror film, which is not to say that it doesn't have elements of the western genre--it does. But the tone is much more similar to, say, Bagdad Café (aka Out of Rosenheim, 1987) or Delicatessen (1991) (hmmm--notice the culinary metaphor motif). If you want to think of The Cars That Ate Paris as a horror film--and it is basically a surrealist nightmare--think of it as something like Maximum Overdrive (1986)/Trucks ((1997) meets Horror Hotel (aka City of the Dead, 1960), but made by David Lynch as a "realist" soap opera.

So what is the film about more literally? Well, it's best perhaps if you know as little about it before as possible, but on the other hand, it's a bit cryptic, and Peter Weir isn't exactly forthcoming with explanatory exposition--the film remains very open to interpretation to the end--so maybe a vague description won't hurt. The Paris of the title is not in France. It's instead a small, bucolic village in rural Australia. The town has quite a few "dirty secrets". The two primary secrets have to do with an automobile (part) obsession and a program of human experimentation. For the most part, they try to keep people out of the town, which has a very small population, but their twisted fetishes necessitate the occasional admission of outsiders, though in an unusual, involuntary manner. The film is centered on the story of one particular outsider, Arthur Waldo (Terry Camilleri), who manages to enter Paris relatively unscathed and who for unspecified reasons is worked into the fabric of the town. Arthur's arrival and integration roughly corresponds to a growing cleavage between generations, or at least between the status quo and a rebellious group of younger men, and he unwittingly serves as a catalyst to what amounts to a civil war.

Although in Peter Weir's video interview included on the DVD he refers to Arthur as an unsympathetic protagonist, I beg to differ. Camilleri plays Arthur as an enigmatically captivating simpleton--the most entrancing "blank" personality this side of Peter Sellers' Chauncey Gardiner in Being There (1979). For most of the film, Weir shuttles Arthur around like a pawn, enabling a metaphorical window through which to satirically examine small town (Australian) life. In this respect, The Cars That Ate Paris somewhat resembles the basic gist of Lars von Trier's Dogville (2003), except that unlike Dogville, The Cars That Ate Paris is a good film.

It's particularly funny how Arthur is shuttled into a variety of jobs, which he is assumed qualified for by a mere change of clothing (and very minor changes at that) and title. He's a doctor one moment, a parking enforcer the next. Weir works in satirical jabs towards everything from appealing to noble grand narratives about pioneer forefathers to the discrepancy between religious, private and political life, the myth of the well-adjusted nuclear family, the charade of public ceremonies, and even partakes in a slight Lord of the Flies-styled commentary on "progress".

But not everything is social critique. Weir is just as concerned with (and just as good at) imbibing in quirkiness for its own sake (although even that stuff we could read as a critique on social conventions if we wanted to) and see-sawing between a kind of community existentialist nightmare and an Our Town-like small village drama. And just in case that's too balanced, every so often he puts us in the middle of a spaghetti western, with the beginnings of mid-street showdowns. Much of the rebellious youth material can be interpreted as a western with hodge-podge automobiles, which is probably why those youths are the ones to don clothing that looks as if Weir borrowed it from the set of A Fistful of Dollars (aka Per un pugno di dollari, 1964).

The music is similarly disparate, ranging from techno-psychedelia that's something like Pink Floyd's "Time" to pensive contemporary-sounding themes, or the hilariously amateurish performance at the Paris Ball.

This is definitely not a film for all tastes. If you wouldn't typically like art-house films, you probably won't appreciate The Cars That Ate Paris, either, and even if you do typically like art-house films, you probably won't appreciate The Cars That Ate Paris unless you have a strong taste for the bizarre and macabre.