Zazie

In the early sixties, New Wave French Cinema were very serious about themselves, with Godard and Truffaut. But Louis Malle, who was from the same generation, don't take anything seriously in this unforgettable movie. I really love the viewer analogy with the Roadrunner! Everythings goes nuts in this movie: Sounds, situations, logic, actors. It reminds us of the Mack Sennett movies. It's also got a lot of charm for the very funny and smiling face of little Demongeot playing Zazie. And how about young Philippe Noiret? He will become one of the greatest French actor of all time. Like the Jacques Tati's movies of the same era, this comedy can't grow older. Seeing today is seeing it with the same joy as in 1960. A must!

I saw "Zazie" in Paris in 1962, and my French at that time was rudimentary. Nevertheless, for sheer manic energy, wonderful visual comedy, and performances that transcended the language barrier, I loved it. I've seen it since and still love it. Among its other virtues for me, this film introduced me to the marvelous actor Philippe Noiret. Malle proved to be a director with virtually unlimited range with respect to style and mood. Consider some of his other fine films: "Lacombe, Lucien," "Atlantic City," "Murmur of the Heart," and "My Dinner with Andre," to name only a few. I guess what Richard Lester did with the Beatles might be close to this when it comes to sheer antic charm, but I think "Zazie"still stands alone. Unless you have zero tolerance for whimsy and insist on Deep Meaning in your movies, I think that you're likely to enjoy this one...if you can find it.

"Zazie dans le Metro" is the kind of movie that owes its relative positive outcomes more to its style than to its comedy of errors kind of humor. Having been made as an American film and this would be considered a disaster. Why? It would lose in style, technique, good cultural references and meaningful message. Don't be fooled, "Zazie" has a message in between scenes. Despite an apparent lovely child as the main character and the apparent comedic routine of the film, this is more inclined to be a grown up's picture than one suitable for children - they can watch but the easily impressible ones in the audience will keep asking their parents the meaning some of the words used by the girl, many of them cursing. So, if you want to insist on watching this with a kid be warned that you're going to be just like the adult characters of this explaining everything to the kid.

It tells the story of a 12 year-old country girl (Catherine Demongeot) who is left with her uncle (Philippe Noiret), a performer artist, while her mother is spending a lovely time with her boyfriend. She flees from the house with the intent of taking the subway, but that plan fails because they're on a strike, so the rest of the movie is her sort of understandable childish behavior against the fact, so she explores the city and creates a lot of confusion against anyone she sees.

Cartoonish, filled of speed-up images, running as if it were an imitation of a Bugs Bunny gag, "Zazie dans le Métro" would be an interesting film if it had some coherence rather than just creating images just for fun. An adventurous piece about a girl discovering herself and learning about what growing up means, ultimate message of the film, would be great. The clownish tone of it was distractive and flat. I was reminded of "Amèlie", since it shared a young female's magical and unusual vision around a big city, it's her small world colliding very beautifully with other persons, other realities, forming a reflexive image about society. Both are colorful and fast paced works, carried with visual style and splendorous editing tricks. "Amèlie" is better because it has somewhere to go while "Zazie" is pure slapstick, losing humor the more it progresses.

It's not a bad movie, but it's not so dignifying of having a terrific director like Louis Malle writing and directing it and let's face it, humor doesn't suit him. His greatest works are all dramas (see "Au Revoir Les Enfants" or "Damage"). It's a good picture, indeed, genius in its creative compositions, elaborated sequences (the breathless one in the Eiffel Tower takes the cake), paying an homage to the silent era but it's a real tough break to endure the annoying little brat, her mannerisms and language (not believable in the 1960's context) which isn't funny or humored because she's mistreating people who are good to her and undeserving of such treatment.

I liked what I saw even though I laughed only once or twice. Mr. Noiret was a class act and made this a very enjoyable film along with the great locations. And don't be fooled by the false advertising, she only spends ten seconds in the subway and doesn't even notice. 6/10

I've just seen this movie on DVD and enjoyed the humor and wit. According to some Dutch and French web-pages like http://perso.orange.fr/cinefrance/1960/zazie.html Zazie is not played by 12yo Catherine but by a 9½yo Milène, what seems right to me by the looks of her, she's definitely too petite for a 12yo, age 9 or 10 seems much more likely. In the trailer she is described as a 9½yo too. Her lines seem a little too adult now and then, but bear in mind who wrote the scenario! Louis Malle was famous for breaking taboos. This movie was intended for enjoyment, like a comedy, but with a sharp view on the changing French society. Also some comments on hypocritical ways of dealing with taboos like homosexuality and "dirty old men". Funny to see the traffic congestion in Paris, already then, and the looney effects, inspired by Tex Avery.

For a long time I'd only heard vague things about this movie, but it was all very fawning and I had the sense that it was Malle's masterpiece. Then I saw a trailer that Criterion put together and my hopes were dashed. It just looked incredibly obnoxious. So I was steeling myself for a trying experience. In actuality, it's a mix of my premature impressions. Something like a Looney Tunes cartoon come to life, the film is bursting with colorful scenes, zany action, sight gags, slapstick, wordplay (much of which I assume is lost in translation), irreverent humor and wild camera tricks. I have to applaud the energy and inventiveness that Malle brings to the screen, it's a unique, anarchic and bold film with echoes in Tati, Jeunet and others. However, it's still a bit obnoxious. It's a weird sensation to be simultaneously charmed and annoyed, but very little of the comedy appealed to my sense of humor. It's all too wacky and madcap. Like HELLZAPOPPIN', I admire the spirit of it and kind of had fun with certain parts, but I doubt I would ever sit through it again.