Tag Archives: Christopher Lambert

IT CAME FROM THE READER-SUGGESTED QUEUE: SUBWAY (1985)

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DIRECTED BY: Luc Besson

FEATURING: Isabelle Adjani, , , Michel Galabru, Jean-Hugues Anglade, Jean Reno

PLOT: Fred, a free-spirited thief, absconds with valuable papers belonging to Héléna, the kept wife of a powerful criminal, and escapes into the underground world of the Paris Métro, where he enlists the help of an entire community living off the grid.

COMMENTS: Subway gets started with a truly satisfying kick. We meet Fred in media res, tuxedo-clad and barreling down a Parisian highway in a cheap car with a load of similarly attired muscle in hot pursuit. But he even knows that the chase doesn’t really begin until he’s got the proper music, and so he ignores the impending threat just long enough to give him the chance to slam in a cassette tape and queue up Eric Serra’s punchy synth-funk beat. Once that roars in, we’ve got ourselves a bona fide chase.

It’s a very Luc Besson kind of joke that, once Fred (Lambert, only a year after being introduced to English-speaking audiences as Tarzan) eludes his pursuers in the underground, we’ll never see him in the sun again, and we definitely won’t have another thrill ride. Instead, we’ll join Fred in discovering the very different way of life taking place in the tunnels of the Métro. It may seem familiar, with commerce and law enforcement and entertainment, but it’s a very different attitude down there. It’s a laid-back, “que sera, sera” kind of vibe, and Fred adapts to it quickly; in his first night, he meets friends who give him food, new clothes, and a place to sleep; he makes the acquaintance of an incredibly strong man who can pry open handcuffs with his bare hands; and he pops into an impromptu party where he immediately starts making friends. If Fred is a natural fit for subway life, Héléna, the gangster’s wife who Fred is both smitten with and cheekily blackmailing, is a more surprising addition to the community. Adjani is stunning in a series of terrifically 80s outfits, but she is possibly most striking in a scene where she returns to her above-ground life and realizes that she can’t stomach it. She gently ingratiates herself into the Métro culture, because that’s what the good guys do in Subway.  

Subway is one of the pivotal entries in the French movement known as “cinéma du look,” in which Besson and fellow directors like Jean-Jacques Beineix and Leos Carax cast aside distractions like narrative in favor of maximum style. Subway has style to burn. Indeed, logic is not anyone’s top priority. One thing may be important at one moment and forgotten the next. Sure, Fred is on the run from zealous policemen and vengeful gangsters, but that’s no reason he can’t take a quick time-out to rehearse the amazing new band he’s assembled out of the various buskers hanging out in the underground. There’s even time for him to team up with the well-connected flower salesman for a quick payroll robbery. Things just happen in Subway because it would be nice if they did. If you’re spending time wondering where Fred finds the explosives to blast open an office safe, or where the band comes up with their matching safari outfits, your head’s in the wrong place.

What’s most fascinating about Subway is how little it cares for the basics of story construction. There are a host of characters, all interesting but defined by the fewest possible characteristics, from the hard-bitten police detective who despises his junior officers, to the friendly purse thief whose primary trait is wearing roller skates, to the bemused drummer played by Jean Reno who hardly utters three sentences but still seems cooler and more relaxed than in any other role in his career. There’s a romance, but it’s conducted almost entirely smoldering looks and chill dialogue. There’s even a climactic collision of passion and violence that is tempered by a happy song to such a degree that even a corpse can’t help but nod along. It doesn’t make sense, and it’s not supposed to. Subway is made of pleasant little moments, and like the people they depict, we just take them as they come.

WHAT THE CRITICS SAY:

“There’s nothing that’s ever boring in this one, but it is definitely paced differently than many may be used to.  It is less about the Plot directly and more about the ambiance of the area…  Getting the balance between ‘weird, slice of life Story’ and Plot-driven Film is tricky.  Thankfully, this one balances it quite well… The Ending is a bit odd, but, you know, French.” Alec Pridgen, Mondo Bizzaro

(This movie was nominated for review by Gary Simanton. Suggest a weird movie of your own here.)         

CAPSULE: HIGHLANDER II: RENEGADE VERSION (1991)

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DIRECTED BY: Russell Mulcahy

FEATURING: , , ,

PLOT: Opposed by a ruthless corporation, an Immortal investigates whether it’s time to remove the ozone shield blanketing the Earth, while he’s being hunted by another Immortal.

Still from Highlander II (1991)
WHY IT WON’T MAKE THE LIST: Highlander II is just crazy enough that it actually has a long shot to make the List—but not in this “Renegade” version. Word has it that the original, pre-director’s cut theatrical release (Highlander II: The Quickening) is even more incoherent, and if a Highlander II makes the cut it should be the most illogical edition in existence.

COMMENTS: Confession: I haven’t seen the original cult classic Highlander. I think this makes me the perfect candidate to review Highlander II, because when I tell you this movie sucks, you can be sure that I am not just some fanboy whining because the sequel violated some obscure point of Highlander canon law (like bringing Sean Connery back from the dead or changing the Immortals from mythical beings into space aliens). No, I can assure you that Highlander blows on its own terms, that it’s internally as well as externally inconsistent, and that it violates the conventions of professional moviemaking as rudely as it breaks the rules of the Highlander mythos.

For a movie to go as spectacularly bad as Highlander II, multiple things have to go wrong; director Russell Mulcahy takes as many wrong turns as someone following handwritten directions to the Dyslexia Association’s national convention. The movie’s first issue is its dual-plot (plus subplots) structure; not a killer flaw on its own, but a good substrate for growing other problems. Our ancient Highlander is being hunted by Immortals from the ancient past who want to decapitate him; that makes sense, I guess. Simultaneously, however, he’s dealing with a shield he helped build around the Earth to protect it from a hole in the ozone layer; the atmosphere may have fixed itself, or so eco-terrorists seem to believe, but evil Shield Corporation wants to keep their monopoly on protective barriers despite the fact that their product keeps the Earth in perpetual darkness. This seems like a totally different, though equally brain dead, sci-fi script that was jammed together with a Highlander sequel screenplay to make a new movie.

Forget the obvious problems, though—like the fact that you couldn’t grow crops in the endless night caused by the ozone shield—nothing in Highlander II makes sense from a basic storytelling perspective. Characters motivations aren’t explained. Their attachments aren’t developed: after our immortal beheads a pair of twitchy goggle-faced time traveling punk assassins, he grows forty years younger, which makes potential love interest Madsen throw herself at him and start dry-humping in an alley—they’ve just met and they’re already a couple. To make things even worse, Mulcahy seems to have his heart set on making a comedy instead of an action movie, including sequences with ancient Spaniard Sean Connery interrupting a modern staging of “Hamlet” (which he thinks is real, yuk yuk) and a comic haberdashery montage.

Yes, I said “Spaniard Sean Connery”: Connery plays a character named Ramirez, who’s Spanish but speaks with a Scottish accent, while the French Lambert plays a Scotsman named MacLeod, who sometimes sounds like a Frenchman trying to do a Don Corleone impression while he has a small piece of walnut shell caught in his throat. Everything is wrong in this movie, but the most memorable and ill-considered scene has to occur when bad guy Michael Ironside, fresh arrived from the past, commandeers a subway train; for no good reason he uses his magic powers to make it go really fast, exposing the passengers to G-forces so powerful that most of them are violently hurled against the back wall of the train, and causing one guy’s eyes to pop out of his head (?) There are about a dozen reasons this scenario makes no sense, but nothing that happens in Highlander II much resembles our reality. Hell, the goings-on in Highlander II‘s universe are implausible even by the standards of Hollywood action movie reality. Sean Connery would have been embarrassed to appear in this mess, if not for the fact that his fully clothed appearance here was a step up in dignity from his turn in a red diaper in Zardoz. Highlander II is nonsensical, but it’s not boring; you’ll shake your head the whole way through, wondering why producers shelled out tens of millions of dollars for that Industrial Light and Magic blue lightning effect, but not one cent for a continuity supervisor.

Highlander II: The Quickening was the version of the film that played in theaters; in it, the Immortals were aliens from “planet Zeist,” not mystical demigods from Earth’s past. In 1995 Mulcahy re-cut the film to make the “Renegade Version,” adding about twenty minutes of additional footage and removing all references to Zeist. There’s no logical improvement in having the Immortals be time travelers rather than aliens, other than better matching the first film. The Quickening version seen in theaters came out on VHS, but as far as I can tell all DVD releases of the film have been the “Renegade” cut. It’s hard to believe there’s an even more incoherent and illogical version of Highlander II running around out there somewhere.

WHAT THE CRITICS SAY:

“…the most hilariously incomprehensible movie I’ve seen in many a long day – a movie almost awesome in its badness.”–Roger Ebert, The Chicago Sun-Times (contemporaneous)