Trans-Europ-Express

Director Alain Robbe-Grillet certainly polarises opinion. Everything from 'genius' to 'BS-artist'! Many reviews I have read are just as pretentious as his films are accused of being. As a leading figure of the 'Nouveau Roman' school it was a natural progression to the medium of film where he could portray the 'natural disorder of things' and reach a far wider audience. His unconventional structure suits this film perfectly as the director, playing himself, is literally making it up as he goes along whilst sitting on a train. In this he also has the services of two charismatic leads, Jean-Louis Trintignant and Marie -France Pisier plus Willy Kurant's splendid camera work. Many found the erotic images discomforting and although the bondage scenes in this are more M&S than S&M they were considered shocking enough in the mid-1960's to keep the film off British screens for quite a few years. Robbe-Grillet's film is easily his most accessible and works wonderfully as Film Noir spoof. It is great fun and should not be taken too seriously.

This film is a beautifully done story within a story --- film within a film. The author and friends take a train ride and begin to work out a film; its plot, its characters and their actions. As the story evolves the characters take on their own existence, reality becomes inverted; they weave their own story as author becomes audience.

It is a taste of the 1960's thinking of the Michael Caine foreign intrigue films, The Orient Express not to mention the Manchurian Candidate. In a way it thumbs its nose at the genre.

I saw it when it ran almost forty years ago and enjoyed it immensely. If you can find it --- check it out.

Given that TRANS-EUROP-EXPRESS is the only movie directed by Alain Robbe-Grillet which the late conservative British film critic Leslie Halliwell reviewed in his celebrated “Film Guide”, one would think that it was more accessible than his usual reportedly impenetrable stuff and, in a way, it is – but still, the end result is hardly straightforward and almost as cerebral!

Jean-Louis Trintignant, in the first of four films he made with Robbe-Grillet, plays a novice drug courier tested by his future employers in carrying a stash of cocaine (which is actually sugar) by train and depositing it into a train station locker – but this simple task is fraught with any number of unexpected complications including police interrogation and night-time chases. Marie-France Pisier is a very beguiling presence here as a whore/double agent with whom Trintignant has several S&M encounters in a hotel room until her ‘double face’ drives him to murder…or does it? Although I was aware that the actress had played Colette in Francois Truffaut’s Antoine Doinel series and had the leading role in the trashy THE OTHER SIDE OF MIDNIGHT (1977), looking at her filmography just now I was surprised to learn that she was also in one of my favorite films, Luis Bunuel’s THE PHANTOM OF LIBERTY (1974), as well as Jacques Rivette’s ambitious fantasy CELINE AND JULIE GO BOATING (1974; which I’ve just acquired via the BFI’s 2-Disc edition)!

What this film has that the other Robbe-Grillet titles I’ve watched (including THE IMMORTAL ONE [1963]) don’t, is a surprisingly substantial dose of humor: in fact, the writer-director himself appears as a train passenger who is contemplating a film about drug-trafficking which (given that he happens to be on the train himself) would be an ideal vehicle for Jean-Louis Trintignant!; similarly, when Trintignant and Pisier go to a café he tells her that the waiter who had just served them was not a waiter at all but an actor playing a waiter!; during one of the various meetings with his shady employers, Trintignant is asked to repeat where he is supposed to meet his contact – implying a very complicated route – he simply replies “Where” (at which his employer doesn’t even bat an eyelid!), etc. At one point, Robbe-Grillet’s fellow passengers complain that drug-trafficking is no longer hip and that diamond-smuggling is the current criminal fad; therefore, Trintignant & Co. exchange costumes and settings accordingly…before the director decides to stick to his original idea (whim?) after all! Incidentally, this ‘screenplay-in-the-making’ structure reminds one of the contemporaneous Hollywood comedy, Paris WHEN IT SIZZLES (1964), which was itself a remake of an earlier French original – Julien Duvivier’s LA FETE A' HENRIETTE (1952). In fact, the whole self-referential element in the film and its heady spoof on the thriller genre recalls the Jean-Luc Godard of BREATHLESS (1960), BAND OF OUTSIDERS (1964), ALPHAVILLE (1965) and PIERROT LE FOU (1965) more than anything else...

Unfortunately, what I said about the poor video quality of EDEN AND AFTER (1970) applies to an even greater extent here – since this one looked distinctly like a tenth-generation dupe (with actors’ features being quite blurred at times and especially, alas, during the S&M striptease act towards the end). That said, the film itself is let down somewhat by sluggish pacing – even if the version I watched ran for a mere 88 minutes, when all sources I know of give its running-time as 105! As it is, I’d welcome a legitimate DVD release of TRANS-EUROP-EXPRESS and one hopes that the recent passing of its creator will inspire adventurous labels to pursue its rights.

I would like to see someone produce a spoiler on this garbage (and, incidentally, probably all that robbe-grillet filmed - i just picked this one as a representative of all). This is BS-artistry pure. Unfortunately there is Money in art and in film, if you can get away with it. You need some Beautiful women to take there cloths off, of course, and a good cinematographer helps a lot as well. The Pictures are well lit and what you see of the women isn't bad - but that's it. No original thought here, in fact no thought whatsoever. That's why BS-artists are BS-artists - they basically have nothing to say about anything. There heads are a black hole from which nothing of value can escape. Robbe-Grillet and others of his ilk give film a bad name. Trintignant could be good - he proved that in other films. Here, however, he was taken in by a con-man, which is the essence of a BS-artist.

Alain Robbe-Grillet (the writer-director of this movie) casts himself as a film-maker who, along with the script girl at his side, plot out a "thriller" involving a drug courier. I will emphasize putting 'thriller' in quotation marks, because I found nothing thrilling about "Trans-Europ-Express". They did hook me though, briefly, during the hilarious first 15 minutes. The plot of the movie-within-a-movie was taking shape while the filmmakers commented on it. Sample dialogue: "Is this really how a drug courier works?" "Well, yes, because this is how the character is doing it." A great setup with all sorts of opportunities. Unfortunately, I have to regard this movie as opportunities wasted.

The actual "movie" - about the drug courier - is flaccid, amateurish, and un-involving. But since the film is more about commenting on this type of movie than about the movie itself, its shortcomings could be forgiven. However, the running commentary isn't utilized enough to make that aspect interesting, and the actual "movie" was, for me, just not engaging.

This might have been a wonderful mystery/thriller/crime-drama but it didn't know how to be that. It might also have been a fantastic comedy, but the movie doesn't do enough with the premise after its wonderful and hilarious opening minutes.

I don't know what the first meta-film was - Had any movie before it attempted what this one was after? - so I will credit this for its originality. I can't recommend it otherwise. You should probably watch Truffaut's "Shoot the Piano Player" instead.