A Cidade Está Tranqüila

"The Town is Quiet" is a plaintive and somber look at the lives of several ordinary people who by choice or by chance find extraordinary solutions to their ordinary problems. Set in Marseilles, this typically fatalistic French flick weaves an austere story around loosely interconnected characters including a taxi driver, a fish packer, a bar owner, a drug addicted mother, etc. as it takes on issues from drugs to politics to assassination...etc. sans the tinsel and sensationalism of the usual Hollywood fare. Not likely to have broad appeal, this 2+ hour long subtitled film will be most appreciated by realists with a taste for French cinema. (B)

This is a production not so much of the French film industry as the Marseille `film co-operative' headed by Robert Guédiguian (`Marius et Jeanette', `A la place du cour'). The same group have been making low-budget films on the theme of working class life for 20 years, and on the evidence of this one they are just getting better. What distinguishes their films is not so much the left –wing viewpoint mixed with obscure French philosophy (sorry M. Foucault) both of which are present, but an interesting combination of super-realist, almost documentary presentation and a decidedly melodramatic storyline.

In this film Ariane Ascaride plays a woman in her late thirties, old before her time, who is the sole support of her family (hubby has been out of work for three years). She toils by night in the fish markets, but this is not enough. Her 16 year old daughter, Fiona (Julie-Marie Parmentier) has already both a baby and a serious heroin addiction. After finding her daughter doing oral sex for money in the living room of their tiny flat, Michèle goes on the game herself, with no great success, although she does enlist the rather dopey Paul (Jean-Pierre Darroussin), a docker turned taxi-diver, as a regular customer. She turns to an old acquaintance, Gérard (Gérard Meylan), to supply her with heroin for Fiona. Meanwhile, Viviane (Christine Brucher), a drama teacher from a more refined neighbourhood, becomes involved with Abderramane, (Alexandre Ogou) a young black ex-con she had met while teaching a group of prisioners. Needless to say, things do not go smoothly. The storylines are topped and tailed by the quest of a Armenian immigrant boy for a decent piano to match his precocious talent.

The film is beautifully crafted; the various stories are brought together in a powerful and shocking conclusion. The scenes between mother and daughter are painful to watch, but justifiably so. Their situation is really not much to do with politics and Foucault, after all drugs plague the middle class as well, but Michèle has only her daughter. Pitched against the personal tragedy there is the plight of the workers as a whole; cast out of employment by mechanisation on the docks they are driven into the arms of the neo-fascists, to whom, of course, they are mere cannon–fodder. But the political viewpoint of the film is suggestive rather than strident, more a background to the personal dramas than the main theme, which what happens to personal relationships when put under unbearable pressure.

Despite the drama and tragedy, there is some subtle humour in the film. Where a flashback sequence is required at one point the director uses a clip from a movie made by him 20 years ago which happens to feature the same actors. There is the bumbling but kind-hearted cabbie, his retired left-wing parents and Michèle's husband to provide some amusement also. The look and feel of Marseille is conveyed beautifully; this reviewer last visited the place 25 years ago and got the distinct feeling that the tatty but colourful town of those days is now distinctly uglier and a great deal more dangerous. Guédiguian, however, has not given up on the place and he and his troupe continue to tell compelling stories of Marseille life.

For a lot of cine buffs ,Marseille evokes the Pagnol Trilogy "Marius" ("Marius et Jeanette,get it?) "Cesar" and "Fanny".But be here now.This is 2000,no longer the thirties."La ville est tranquille" is a thoroughly contemporary movie,the despair of which sometimes recalling such works as "Rosetta".

Actually,it recalls in its form,Julien Duvivier's work,his movies made up of sketches particularly "sous le ciel de Paris"(1952) when all the subplots came together in an almost seamless whole.And as for despair

,Duvivier's movies were pessimism flesh on the bone. Guédiguian's story is more realist,more loachesque ,less melodramatic maybe less storybook or lyrical too.But that does not make a great difference:Duvivier and Kenneth Loach are influences every director can be proud of.

The backbone of "la ville est tranquille" (what an euphemism!) is a mother's struggle with her daughter's addiction,filmed with a realism hard to match.This is an absurd fight,because she's alone -she goes as far as prostituting herself to buy drugs-and because she actually helps her daughter in her fall.

But there are a lot of subplots,most of them as absorbing as the main story :sometimes they interfere with it .The taxi driver sequences,for instance ,do not seem to have a lot to do with it,but after a while a strong connection appears.And before the meeting,we already know the character:a man who 's not found a woman who's got what it takes,he's an old bachelor whose father and mother are longing to see him settled down.these parents are the only characters that have got something of Marcel Pagnol,they are definitely people of the past,not only because they are old,but because class struggle which they championed has become a thing of the past:the sequence in the taxi when the driver sings Pottier's "l'Internationale" in several languages is revealing for that matter.

Mini subplots give the movie substance:a meeting with a disquieting far right leader has a strong contemporary feel:"we like the Aliens,but we do prefer the French (of French extraction).Only the bourgeois couple and its sentimental -and intellectual - problems are irrelevant.

spoilers spoilers spoilers "La ville est tranquille" manages to give the audience a good dose of optimism though.one of the opening shots a young boy playing the piano in order to buy one :he's an Alien too and this vision is almost surrealist.At the very end of the movie ,when the audience seems to have lost any hope,a truck brings the piano to the child prodigy who begins to play.Then a crowd (of rejected?) gathers and ,for a while ,forgets all about its burden. end of spoilers

If there had been any doubts ,this movie finally and firmly placed R.Guédiguian among the greatest,most ambitious directors contemporary French cinema has produced.

I have JUST seen this film - literally an hour ago and was curious to come to IMDb and see what others thought because I really knew very little about this film before I went to see it. Basically it had an 8:30 pm showtime and that worked out better than other movies and their showtimes so there I was. I felt the film really had trouble finding it's footing in the first twenty minutes. The director was obviously building blocks and setting things up but I was pretty uninvolved, but then, once all these characters' lives start to intersect and the stories start to build, the film just grips you and won't let go. Not in any thriller kind of way, but in a very believable, yet depressing, but human, real life way. The director trusts his story and actors so much (the acting is top notch) that he just lets the camera stay still and show you what happens. Now, if this film was just bleak and nothing else, well, then I probably would have hated it, but there are real moments of true, selfless love and even at the end, signs of hope and beauty that makes the movie special. I could see how many people might dislike the film and even walk out in the beginning, but Overall, the film packs a punch, a wild emotional punch, but like many great dramas, it leaves you thinking a great deal about life and society and mankind (good and bad).

One is used to British director's Leach and Loach concerning furious films about the working class, but Robert Guédiguian beats them. Not that his fury is lesser, but it's more quiet and therefore maybe more effective. This is about Marseille working class, drawn down in every aspect because of the globalization and a capitalism which is stronger and more destructive than for many decades. Even the conventional left-wing politicians seem to have abdicated completely and that is why Le Pen is very popular among these people. If you see this movie you indeed might understand why.

Beside the critic of capitalism and especially it's maybe most disgusting form, the drug trade, there is also drama here. You get really engaged in ten people's life and the people are not uncomplicated, "although" they are working class. The acting is marvelous, especially from Ariane Ascaride, Jean-Pierre Darroussin and Gérard Meylan.

See this one. It's almost a masterpiece