Subway

This movie had a very unusual plot. It was basically unexplained, and at the end I was left wondering what I had just seen. It's not that the movie is hard to follow, rather that it doesn't give you much to follow. The main characters are never really defined outside of the specific events that occur in the movie, and vague references to events immediately before the beginning. Perhaps this was done on purpose, to avoid tying down the identities of those who were involved, in an effort to create the sympathetic characters most films aspire to. But it left me feeling like I'd missed something.

The film included shady denizens of the Paris Metro, but I'm not sure it focused on them as much as I expected. I expected the film to be about a normal main character running across an unbelievable array of weirdos in the subway, but the weirdos simply weren't that weird. I think I've actually see weirder people in the Paris Metro in real life. Instead, the weirdness in the movie comes from its lack of definition. An unidentified main character having stolen mysterious "papers" from the unknown rich husband of some random woman he happened to meet on the street.

I'm not sure what the movie was trying to get at, but I think it was leaning toward inspiring spontaneousness in all things and the consequences that brings. It really didn't ring any bells of resemblance for me with any of Besson's newer movies (Léon, Fifth Element), even though it had a score by Eric Serra and Jean Reno made an appearance. It also had the Eighties stamped into and slobbered all over it.

I can only recommend this movie to Besson fans trying to get a bigger picture of his work, 80's freaks, or anyone interested in trying to decipher cryptic movies.

At the time, a huge box-office hit in its native France - and as a result of the rising popularity of lead actors Christopher Lambert and Isabelle Adjani, something of a cult film in the UK - Subway (1985) was seen as a companion piece to Jean Jacques Beineix's earlier art-house classic, Diva (1981). Together, these two films can be seen as both the development and the continuation of the concerns and preoccupations of the then-newly dubbed "cinema du look" movement; a brief cinematic resurgence in French cinema that saw a younger generation of filmmakers looking back to the days of Godard, Truffaut and the Nouvelle Vague, and combining that sense of playful experimentation with elements of early 80's pop culture. It would be the film that finally introduced director Luc Besson to a wider commercial audience outside of the confines of the French art-house, and really - when looked at as part of the natural progression of his career - seems light years away from his first film, the wordless science fiction parable, Le Dernier Combat/The Last Battle (1983).

The characteristics of the cinema du look movement involved preoccupations with doomed love and alienated Parisian youth, applied to a plot that was both cool and iconic. This can be seen quite clearly in Subway, with its mixture of film noir conventions, pop music, subterranean youth-culture, action and broad attempts at humour. As others have previously noted, the film and the style that it employs are very much of their time; presenting a very 80's take on listless youth replete with a central character that looks like Sting, a synthesiser heavy soundtrack that manages to work-in two specially composted New Wave pop songs, some shocking fashion choices (though most of these are admittedly back in vogue) and that general unique, indescribable feeling that you often get from many French films from this era; in particular Buffet Froid (1981), One Deadly Summer (1983), The Moon in the Gutter (1983), First Name: Carmen (1983) Hail Mary (1985), Betty Blue (1986), Mauvais Sang (1986), Jean de Florette/Manon des Sources (1986) and Besson's own subsequent picture, Le Grand Bleu (1988). Subway doesn't necessarily have much in common with these particular films in terms of style or content, but it does have a similar languid feeling, bizarre eclecticism or eccentricity, and an atmosphere that feels very much true to the country and the time it was produced.

Overall, the film could be seen by many viewers as something worryingly lightweight; with the knockabout plot, colourful caricatures and continual bombardment of cinematic style perhaps being seen as a smokescreen to the thin plot and ironic characterisations. Like Le Dernier Combat, the ultimate problem with the film is that it can't quite decide whether or not it wants to be an action film or art film; with the combination of the two very different styles never quite gelling in perfect harmony. The opening car chase and initial descent into the bowels of this subterranean underworld hidden deep beneath the Parisian Metro system seem to suggests that the film will be all high-style and high-energy. Subsequent scenes however take a step back, giving us some cool, neo-noir like interaction between Lambert's laconic safe-cracker and Adjani's bored trophy wife, while the opposing forces of police and gangsters begin closing in around them. It is the kind of film that will definitely appeal to a certain kind of viewer, perhaps a more mature audience who are open minded to cult European art cinema, or perhaps maybe a dedicated audience interested in seeing how the director of such highly acclaimed action thrillers, such Nikita (1991) or Leon/The Professional (1994), started out.

After first seeing the film a few years ago I wrote "This has no heart. It is an experiment in cinematic formalism; obsessed with technicality but also consumed by the self-indulgence", which to some extent still stands, but I think, with repeated viewings, I've come to enjoy the film and see more of an allure and attraction to the characters of Fred and Héléna, who, quite clearly, struggle throughout to maintain face and make the right decisions in a world that neither of them truly understands. As a result, it might just be the kind of film that takes a few viewings to truly captivate the audience, especially after drawing us in with that aforementioned car chase (which nods to Claude Lelouch's iconic 1974 short film C'était un rendez-vous, whilst simultaneously prefiguring much of the Besson-produced film series, Taxi). Subway clearly isn't a masterpiece. Like his first film, Le Dernier Combat, and the recent Angel-A (2005), it shows Besson at his most inventive and experimental, sampling from a variety of different genres and producing something that is chic and stylish, without ever being truly captivating. It is however an interesting film and one that will no doubt appeal to fans of some of the films aforementioned, chiefly Diva, Buffet Froid and Mauvais Sang, as well as some of Besson's own lesser-known works.

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 film is about an upper class woman falling in love with a thief, who lives an alternative lief in the underground passages of the subway.

I was hoping this film would be as exciting or suspenseful as the "Leon", "The Fifth Element" or "Joan of Arc". I must say I was disappointed by this film. Maybe it was because Subway is an earlier film, and he had yet to develop his skill and style. I found Subway rather boring as there was not much going on. I was expecting more chases, drama, violence and psychological games.

Instead, the film is slow paced, dialog sparse and content sparse. We get treated a 90 seconds scene of cops walking down some stairs. Is this scene interesting or even necessary? I also am disappointed that there is little portrayal of what goes on in the subway passages. Just having some cat and mouse chases is not interesting enough.

There are a lot of people who rate this film so perhaps I just didn't understand it but I suspect that there wasn't much that needed understanding. I am a great fan of French films but this one seemed pretty pointless to me and there is little to say about it. It didn't satisfy either as an "entertaining" film (it has no real plot) or as a "thought-provoking" film (no character development, no analysis of human relations, etc). It also seemed to me to be very self-consciously American in style, if not a rather crude attempt to make a French film more palatable to the US market. There's nothing wrong with imitating the style of a country whose movies have conquered the world but I didn't think the director achieved it with any subtlety. Even the title of the film is a US English word. I guess it's just not my kind of film.