Arsène Lupin

"Arsen Lupin" and "Immortel" were among the films that i went to see during the French Film festival in Belgrade. While i immortel left a good impression on me Arsen Lupin got me and a couple of my friends laughing. Here's why: First of all, "The Adventures of Arsen Lupin" are a series of books which tell a story of a Gentleman Thief in the 19th century. The books are enjoyable if you are a fan of romantic-adventure novels.

The film tries to squeeze a few of these books into a whole. This was in my opinion a mistake from the start. The film starts unwinding at about the 1 hour mark and keeps unwinding for another hour, meaning that its ending for a whole hour. The scenes quickly jump from one thing to another not explaining the who or why, characters come and go, places, things, details... After an hour or so you can't even remember what happened 2 minutes ago and frankly you stop caring since the plot makes 360 degree turns every frame. Instead you catch yourself enjoying the unbelievable plot twists and the speed at which they unfold in a bad way, I had the whole cinema laughing throughout the second part of the film. All the characters are switched around, so in the end his father is trying to kill him (WHY?!), oh yeah and he is searching for this treasure which is shown by placing certain crosses together.

Also he seems to be in love with a witch/devil character who tries to use him but doesn't, then does and so on... Another comic character was the witch's henchman who had a metal plate covering half of his face, his role is also unclear. The costumes and scenery are very well done but they don't do much to fix the script, editing and awful directing. The first half of the film starts out slow and slightly boring but the second half is fast, confusing and outright funny. I loved laughing my head off at the unbelievable plot twists in the second half of the film. Otherwise its not worth seeing this film.

A fan of Lupin ( I read almost all the novels), I entered the movie theater with great expectations and came out with mixed feelings, but with a margin of admiration. That's certainly the best of the cinematic technical renditions of Maurice Leblanc's immortal personnage (the TV renditions are all below standard).But after John Barrymore and Melvyn Douglas, Jules Berry and Robert Lamoureux brought a conception of the main character which is absent from this superproduction. The two guys from Toronto (nice city, I lived there six months) who sent positive comments are mostly correct. The other from Italy is right when he predicts "failure abroad" (this movie is already losing momentum in Paris only a week after its premiere and severe reviews). Now let's be lucid: most of the French movie critics are hopeful future cinematographers, and they react furiously when a newcomer comes up with a movie that reflects a good use of a heavy investment, which was the case with many films by Claude Lelouch, and applies also for ARSENE LUPIN (2004). J.P. Salomé did a fine job with the millions he was able to raise, and most of the actors look real. Too bad Lupin is not one of them; I didn't recognize my Arsene from Romain Duris' impersonation, although he tried hard (and his stunts were Indy Jones, Tarzan and Flash Gordon reunited). To put it simply, the Arsene Lupin standing up on the screen for me had not the class I remember from Maurice Leblanc's sensational novels. I just went across a lengthy interview I made with Claude Leblanc (son of Maurice)in 1992, when he was 90 years old (he died two years later). I'm sorry to say, Romain Duris is no match to the list of the former Lupins (except Charles Korvin, in the last of the three movies made by MGM), including Georges Descrières, classy, but unable to save the TV versions. But how can you concentrate "813" in 52 minutes? And the ending, with Franz-Ferdinand of Austria murdered in front of the Gare de l'Est, is purely ridiculous, almost an insult to the millions of youngsters who were murdered after the Sarajevo catastrophe. J.P. Salomé probably imagined that moviegoers would smile at that: none did, at least in my sparsely populated theater. If he imagined it as a prelude to a new sequel, he missed the point. Too bad, because I generally enjoyed his movie and appreciated the efforts deployed to make it a success. I sincerely wish it good luck. harry carasso, Paris

For all that money invested in the film, it could have really included a lot more intriguing plot than a Satan-faced diva in perpetual search of her final goal which is... what actually? And all those endings, just when you're about to get up from the seat and leave the cinema with your face in agony thinking it's all over, no, your blissful sense of relief won't appear... not yet... the film over-culminates and looks like a huge wedding chocolate cake with fruits and jelly and cream and nuts, and caviar and oysters on top of it. In other words, too much, and completely without any purpose. If you want to watch beautiful pictures for more than two hours (btw, it feels like it lasts more than three), see the film at home, with some music on.

... or whatever the French equivalent would be ("mec, que est-ce qu'ils ont pense quand ils ont cree cette film?"). I was actually in Paris when this premiered. It's like six stories in one, and every time you think it ends, it just keeps on going on. We even get Knights Templar thrown in at what we think is the end, but then we move on to historic events.

The idea is great -- the gentleman thief. It's just over-over-over explained. Cinematography is quite good -- nice look and feel for old Paris. However, editing leaves something to be desired. And yes, Kristen Scott Thomas speaks very good French (well, actually, I'm not one to really judge -- sounded good to me). A nice effort that could have been a truly entertaining film if not written by a team of seven writers not in communication with each other (or so it seemed).

And one last thing -- the thief thing is a little ridiculous. The guy goes into a room, women are wearing enormous ostentatious necklaces and earrings, and they never notice him basically ripping these off of them. I think there was some sort of sensory deprivation problem back then (perhaps "touch" hadn't yet been discovered), so that might have made it easier for our pal Arsene. Otherwise, I have no explanation.

So, if you want to see a recent French film with good production value and practice your French, enjoy. If you want to see a good French film, there are many many other films more worth your time.

Romain Duris, the little schoolboy from l'Auberge Espagnole, in the skin of the "Gentleman Cambrioleur" is a little more than I could take. I could not recognize the man from "L'Aiguille Creuse", "Le Mystérieux Voyageur", "Le Collier De La Reine" and "La Comtesse De Cagliostro" which are the stories mixed in together in the movie. Some characters are reinvented or mixed in with different concepts which are too much to swallow. Why not sticking to the story if you're not going to make t better?

There is however good playing, Kristin Scott Thomas is awesome as the countess. And even though Arsene lacks the class and style one is entitled to expect, Romain Duris have some very good moments.