Subway

High-speed trains, stations lighted or in dark, crowded or deserted, underground tunnels and the mazes of the subway networks have long been an ideal space for interesting films and especially for quality thrillers, from his Larry Peerce's 'The Incident' from 1967 until 'Kontroll' by the Hungarian director Nimród Antal made in 2003. 'Subway' made in 1985 by Luc Besson fits well in this good company. It was only the second feature film of the French director made when he was only 26 years old, but we can already find here many of the creative and original features, the pace, the audacity, and a degree of disregard for the social and cinematic norms that they would make him one of the important names of French and international cinema in the coming decades.

Luc Besson takes a story not too original and does not do too much to develop it beyond the basic premises. We don't have too much psychology in this movie, its story and the characters don't offer too many interesting things at first glance. An occasional burglar breaks a safe deposit when invited at a high bourgeoisie party, a young and beautiful rich woman gets tired of her tycoon and gangster husband and of the hypocritical conventions of the upper classes and looks for something else, the two will be chased by a police commissioner who seems to have come from other French police films and his incompetent subordinates, competing with a gang of gangsters incompetent as well. What is different is the setting in which the action takes place, which is for the most part the seemingly infinite maze of underground Paris. This was, in fact, the space in which the story of many books (signed among others by Victor Hugo, Alexandre Dumas, Gerard de Nerval, Gaston Leroux) and some films inspired by these books takes place, but here we are dealing with an underground world invaded by the modernity and the technology of the 80's. And yet, this is a different and contrasting world than the one 'above', where many unexpected things are possible from love stories to the formation of musical groups. Dangers, violence, tragedies are not lacking either.

Viewers who will focus on the way the film is made and the colorful characters that populate the underworld will find plenty of reasons of satisfaction in the 'Subway'. The film begins with a spectacular pursuit that seems to belong to Luc Besson's later films, but continues underground, where cinematography and scenery create the feeling of dynamic claustrophobia accompanying the entire film. Isabelle Adjani is gorgeous, a bleak beauty looking for an alternative to a glittering but empty of content life. Christopher Lambert has the most remarkable performance in this film, a role very different from others in his career. I also was delighted by the presence of Jean Reno in an original role that precedes his fame and by Michel Galabru, a formidable actor whose roles as police commissioner fit him like a glove. Éric Serra's music accompanies the film and is part of the action. Luc Besson has managed with 'Subway' not only to make a special and original film, which has enjoyed public success as well, but has also signed a declaration of independence from the film noir or the traditional French action films proving that it is decided to make cinematography his way.

When I saw Subway, I wanted to see mostly the talent of Isabelle Adjani, one of my favorites.

As this movie starts, it seems promising with the dark Paris Metro atmosphere, which is a bit similar to our Subway system in Montreal. The weird caracters, the forbidden passageways and of course the hideout, that subway security can't detect nor approach.

But the story is slow despite good performances and the up-going suspence, that if security can snatch those guys. And by the middle of the movie, mostly the last half hour, it is boring.

Too bad for a story which started so well with such a offbeat caracter like Christophe Lambert (in blond, clad in a dark trenchcoat and bearing a neon stick) falling in love with a rich, sultry woman like Isabelle Adjani...

See it for curiosity only...

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.

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.

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.