L'ultimo metrò

An almost banal story about normal people which by its naturalness attains a truly remarkable human greatness. Against the background of nazi occupation of Paris with its whole train of treasons, pusillanimities, courage, resistance, collusions and collaboration with the enemy, indignities and oppression, a theatrical company staged underground by its director who is secretly hidden because he's Jewish, puts on the stage a play about love also repressed, a play however which resounds as a freedom although smothered shout in the darkness enveloping France and Europe by then. The acting performance of Depardieu and Deneuve is brilliant as usual although very simple and natural. Besides that, Deneuve is indeed one of the most beautiful movie stars we have ever seen. This movie is also a hymn to the theatre as free expression since ancient Greece, living through the love of those who devote themselves to it, very often with abnegation and in adverse conditions. It must by all means be seen because, in spite of all, it makes us believe in human virtues which keep pace here with the theatrical actors' talent.

Le Dernier Metro is the portrait of a woman. An ageing, beautiful, authoritative, successful and famous actress caught in her own personal quagmire, and that of a strange historical era.

It's 1942 and Paris screams under the German occupation. A quiet scream, at least as portrayed by Truffaut, where Parisiens go on living their everyday lives as close to normal as they can. The German element is of course ubiquitous, always lurking in the shadow of normality like an undiagnosed disease. The black market, the Jewish persecution, the curfew, the collaboration and the resistance, all are accepted as just another fact of life.

The real threat though is the unknown. What will the war bring? How longer will it last? And yet, decency and normality go on being the bourgeois lifestyle of choice, simply because most don't know how to really survive without the city, without its theaters and fashion circles. Without this superficial normality.

In the middle of this strangeness stands a woman disillusioned by her life. Deep inside, this poignantly beautiful, famous, smart and strong woman is empty. Torn between her professional and artistic duties that have increased dramatically since her Jew husband and theater chef fled to save his life, and her ageing femininity and her devoid of passion life, she revolves around the sole remaining centrepiece of her life, acting. Only acting proves to be just another lifeless remain of her previous life.

Should she stay faithful to a husband that she stopped loving a long time ago? Do they both cling on to their failing relationship just for the sake of normality, to survive this strangeness of an era? Will tomorrow ever come, and if it comes will she be too old to enjoy it? Deneuve is perfection. The script has most probably been written with her in mind and it shows. Nowhere in the film is she caught relaxing, even in the most ambiguous moments her eyes are crisp clear on her intentions.

Depardieu is solid but lacks the internal flame his character should possess, probably due to him being influenced by Deneuve's coldness.

Poiret and Bennent are sublime in secondary but very important roles. Richard underplays his character's potential as a threat. The rest of the cast are adequate and in control of their roles.

Truffaut delivers a quiet film with claustrophobic cinematography, low-budget sets, fabulous costumes and minimal music. Just like a real theatre show. The director's brilliance drives through the sharpness of the second World War with a fine comb and picks only what's relevant to the story, and nothing more. A film to admire, but not to be inspired from. And there lies probably the only fault of the film. The nouvelle vague has matured and settled down with a sigh.

Watch this film just to experience the ferociously magnetic beauty and strength of Catherine Deneuve. Or if you really love theatre. Or both.

Francois Truffaut follows in the tradition of Jean-Pierre Melville by adapting a popular genre as a serious allegory for the darkest period in French history: the Nazi Occupation. Just as Melville used the gangster film to examine notions of legality, legitimacy, authority and criminality in a period when the Resistance were outlaws and the police rounding up Jews for the death camps, so Truffaut takes the beloved putting-on-a-show warhorse, and uses it as a metaphor for the conditions of life in Occupied France: the need to act, adapt and continually discard roles. When Depardieu's character leaves to fight for the Resistance, he puns about exchanging his make-up (maquillage) for the maquis.

What Truffaut is most interested in, as in all his films, is the effect this need for constant dissembling has on individual identity and relationships. This wonderful romantic comedy plays like a mature update of 'Casablanca', richly stylised, bravely open-ended, with Truffaut's moving camera wrenching spirit from the claustrophobic confines.

While it's always lovely to see Catherine Deneuve on the big screen, and always nice to hear the lyrical beauty of French in a film, a lazy Sunday afternoon might not have been the best time to have to focus on subtitles. The movie, though heartfelt and lovingly rendered, slowly meandered and wondered in the typical French way of searching for a higher truth about humanity, all of which made for a more sedate movie-going experience than we had hoped.

This is a very well made movie. In particular, acting, writing and direction are superb and it just goes to show you that you don't need car chases and explosions to make a good film.

The movie is set in a theater in occupied France. The main concern through most of the movie is that they will come to take the Jewish husband of Catherine Deneuve who is hiding in the basement.

Gerard Depardieu provides excellent support as well and his decision at the end of the movie caught me a little off guard.

So, for those NOT familiar with the work of Truffault, it is an easy to watch starter--easier to take than some of his earlier work for the uninitiated.