Subway

It would be difficult to describe "Subway." Fortunately, I threw it into the DVD player knowing only who directed it, who starred in it, and that it was set in the Paris Metro. Maybe that was a plus for me, since I had no idea where the serpentine, if occasionally silly, plot was going. Suffice it to say that Christophe Lambert is chased into the Paris Metro, clutching some files that Isabelle Adjani is desperate to get her hands on. Of course, there's a romance with them, and a number of supporting characters--a roller skating purse snatcher, a smart cop, a dumb cop, a philosophical flower vendor, etc. Like many Luc Besson films, this one is over the top from the get-go, a crazy ride to nowhere, surreal, perhaps, but a bit obtuse at times with its eye-rolling symbolism. But it's fun, especially the excessive 80s look of the costumes and hairstyles, and Eric Serra's synth-and-bass-heavy soundtrack. Between Lambert and Adjani, I have to reserve all the praise for the lady, who deliciously scores with superb comic timing.

I watched this again to see if the integration of flashy Hollywood values into French cinema looked any better fifteen years on, and it really didn't. The movie's extremely loose plot and visual restlessness have their engaging elements, although more in theory than practice: I wish, for example, that the contrast between the initial elegance of the spiky-haired tuxedoed Lambert suggesting a punkish James Bond, and his ultimate incarnation as a doomed Robin Hood, were more interesting. The movie also contains traces of anarchy (Adjani disrupting a constipated upper-class dinner party); conventional send-up (the ineffectual cops); scattered cultural references; and apparent unapologetic self-indulgence. It occasionally makes it as a kind of scrapbook of high-concept images and impressions, but is probably best summed up by Lambert's ineffectual, smirking central void of a protagonist. The final delivery of a would-be significant message through an utterly trashy song doesn't cap it off much.

Truly I had no clue about what was going on in French director Luc Besson's offbeat, but terribly jerky story involving a sly safe cracker fleeing to the underground Paris Metro, after stealing some important documents off a millionaire that he would try to ransom off to. The bubblegum romantic-crime-drama premise is a washing machine filled with ideas, which are hanging off a very loose, but unpredictable plot. There's not much groundwork, but its impulsive nature, trivial gimmicks and interesting urban environment just gets you caught in the disjointed whirlwind of these strenuously adventurous situations, melancholy despair and eccentric characters. The delirious script never takes itself seriously (the humour is strong) and feels insignificant, but it sure had many awkward and lumpy exchanges. Some passages feel quite useless, and have poor continuity, but there's a certain charm that's hard to resist. The English dubbed version sounds quite terrible though.

It's like Besson has thrown caution to the wind, and is experimenting with his visually sharp prowess and stylish verve to get any sort of impact and details through. His placement, pacing and overall enthusiasm is impeccable. Some action sequences, mainly the opening car chase scene is very well delivered. He draws so much form very little and never seems bounded by logic. From the get-go he storms right in and never lets the smoking composition, slick atmosphere sway off course. Brimming in is an electrifying tacky electronic / rock soundtrack (by Eric Serra) and Carlo Varini's camera-work beautifully illustrates Besson's characteristically moody framings. The worthwhile cast do an admirable job. Christopher Lambert's broodingly dry and grasping performance has an immensely hypnotic ambiance to it. An alluring Isabelle Adjani draws up an infectiously collected, and classy performance. There's enjoyably fine kooky support from Jean-Hughes Anglade, Richard Bohringer, Jean-Pierre Barcri, Michel Galabru and the always delightful Besson regular Jean Reno.

Besson's "Subway" is resourcefully fun and colourful pulp, if a rather jaded experience.

This is a pure exercise in style from the Luc Besson school of film making. A handsome gangster joins ranks with a school of dropouts who populate the Parisian subway system, hounded (but never phazed) by transportation police. The trouble is that head honcho Fred has fallen in love with the pretty but stroppy wife of one of his BCBG victims, and strife ensues below the streets of gay Paree.

Christopher Lambert is amazing as the stylish rebel gangster with a heart, Fred; Isabelle Adjani is pretty but, as always, deeply annoying -- she just exudes arrogance from the bottom of her dainty little heart. On the sidelines we see an impossibly young Jean-Hugues Anglade, Jean Reno and Jean-Pierre Bacri. I actually didn't recognise Reno, that's how young and unknown he is here.

If you have a deeper interest in cinema, this is a straight ten. It's amazing how Besson brings together great style, action, fun, pace, acting, dialogue and amazing characters. Unlike most directors who film in the province and try to make it look like Paris, Besson films in Paris but makes it look like Metropolis.

Unfortunately, there isn't much of a plot and zilch suspense. The film starts with a heated heart-to-heart between Fred and pretty Héléna, and since we are aware that their affair can't end but unhappily (albeit in an incredibly chic way), the suspense is exactly zero. So if you just want entertainment, you should better pick one of Besson's later movies.

I love French cinema, just so you know. However... This movie has no plot, no character development, no vision, and no coherence. It starts nowhere and goes nowhere. It doesn't so much "end" as much as it just "stops". I own this film on DVD, and I can't even give it away because I'd feel responsible for whoever else would watch it. Besson is a master. Even the masters can craft some dreck. This is a terrible, terrible, terrible film.