mim-8

I think this movie was dated even when it came out. Maybe because it was done during the occupation, and Nazi censorship, although it was shown after liberation and restored many years later, it's probably because it was ill-conceived from the start, a so-called classic of French cinema is silly today as it ever was. Numerous characters parade through the film with no real purpose, story-lines that go nowhere, and love story without love or even a story to speak of, topped by flat acting of all but one of the principal actors, with the down-right preposterous performance of the supporting cast, exaggerated and overly melodramatic, makes me wonder how this 3-hour mess with non-sequitur plot became known as one of the greatest movies in the history of cinema. It's more like a country amateur theater troupe performance, without any direction, speaking the lines written by an untalented scribe. The film was smothered by such contrived melodramatics, making all the characters lifeless cardboard figures. Marcel Carné was never much of a director, but Jacques Prévert's script disappoints the most. The pantomime performance of Jean-Louis Barrault, and his quietly subdued acting is the only thing that stands out. I don't know how the whole cast and crew were not jailed after the war, for making this awfully "uplifting" contribution to the cultural model propagated by Hitler's Germany. They jailed Henry Georges Cluzot for making blatantly anti-Nazi films like "Le Corbeau" during the occupation, but this one went unpunished, simply because of the time-lapse. If you're not a devoted follower of ridiculous and plotless soap operas, avoid this "masterpiece" at any cost.

Whatever they thought of this movie when it came out is simply snow blindness to the fact that it carries the very best qualities of noir mysteries of the 40's and 50's. Trailing in the same path that made many movies of this genre infamous,the leading character's effort to untangle the web of double-cross, lies and deceit surrounding him, and redeem himself, is no less engaging than in any of those films, and the plot doesn't have a single point of silliness or implausibility that often marred Hollywood products of the 80's, or any other decade for that matter. Slam Dance uses the neon and metallic backlit of the Los Angeles skies to underscore the desperation surrounding the inhabitants of this Lost story who often mix pleasure with deviancy, loneliness with crime and love with murder.

The dance of chaotic moves is a metaphor for Drood's life, and resistance to be pushed over, until he finds a purpose and is brought back after the purgatory of redemption to the memory of the woman that loved him and the family that centers his world. It certainly didn't appeal to the superficial audiences back in the day, saturated by ridiculous plots and one dimensional characters. Slam Dance doesn't have any of these, it's the "Touch of Evil" of it's time. Don't read empty reviews and be sure to give it a look, you won't be disappointed.

In the excellent tradition of the 40's detective crime dramas comes this whimsical crime-comedy from a newcomer called Stephen Frears. In his first movie, he does a great job of placing Bogart-like character in the 1971 Liverpool and London settings, with crispy dialogue, Bogie, Chandler and Hammett wouldn't be ashamed of. Albert Finney in one of his finest roles as a quirky Liverpudlian trenchcoat-wearing detective, plays a nifty cat and mouse game, with all the pieces in this smartly constructed mystery. Is it easy to follow? Not at all, but that's the beauty of it, because it shouldn't be. Finney as Eddie Ginely does his one-liners with razor-like precision, cutting through the maze of his case like it's a paper towel. It all unravels as in any good crime picture, intelligent, fast and to the point, pilling up like a deck of cards.

It is also a clever comedy and a parody, so it packs a whole lot of wit, humor and meaning to the story of an amateur sleuth that is more professional than many, destined to be the one. From psychiatric office to dismantling of the apartheid supporting - gun running scheme, this is the movie that will stay with you. No particular violence, no bodies (onscreen) and no blood. It's a crime picture that is all in the characters. And everyone of them does a great job. Andrew Lloyd Webber scored and Chris Menges photographed this adorable and enjoyable brainteaser. I wish Frears made more films like this one. Absolutely recommended!