- Who is that? - Cinderella. - Your Cinderella has a gun in her purse. - It's her magic wand.'
Once a young but extremely talented French cinematographer, who made the first but confident steps on his creative path, Luc Besson rallied around him four like-minded friends who began to fantasize over the script of a lyrical-fiction picture, later released in 1985 under the name Subway, and in our localized translation - Subway. Initially, the main role was considered by the British musician, singer and poet Sting, who then recorded the mega-popular hit “Shape of My Heart”, used by Luc Besson as the posttiter song for the dramatic thriller “Leon” (1994). And Sting’s company was to be made up of his compatriot Charlotte Rampling. But for a number of reasons, both Sting and Rampling dropped out of the project, and then Besson invited his compatriots to the Subway - Christopher Lambert, who seemed to also have a hand in writing the script, but was not indicated in the credits in this role, and Isabel Ajani, for whom Luc Besson shot a video for her song Pull marine, which became the title in the album of the same name.
But the time of the premiere of “Underground” Luke Besson was only 26 years old, which is considered a very young age in cinematic frames, but in his track record there was already one feature film – the science fiction “The Last Battle” – released two years before “Underground”, and was, in general, well received. And Christopher Lambert, who played the main male role in the Underground, has already gained some popularity after the release of the film Greystoke: The Legend of Tarzan, the Monkey Lord (1984), which received three Oscar nominations. And Isabelle Adjani, who at the time of filming in the “Underground” was only 30 years old, was already considered one of the most prominent actresses of our time, especially after she showed a deep and expressive performance in the films of classical directors François Truffaut (in The Story of Adele G. (1975)), Roman Polanski (The Resident (1976) and Werner Herzog (Nosferatu: The Ghost of the Night (1978)). In addition to them, it is worth noting that Jean Reno starred in the Subway, who played a role in Besson’s debut film. And also there is Michel Galabru, known for the role of the gendarme Jerome Gerbert, the boss of the hero Louis de Funes in the comedy Gendarme of Saint-Tropez (1964) and its five sequels, which were so beloved in the USSR.
The action of “Underground” begins with the fact that we are introduced to the character of Christopher Lambert – charming adventurer Fred, who is forced to flee from the pursuers after stealing some documents from the safe in the house of Helen (Izabel Adjani), whom he recently met. And, using all his charisma, he found himself visiting her, where he committed a criminal act. Fred’s escape leads him into the dark tunnels of an underground road and he discovers a completely unfamiliar world there, because it turns out that there are many people who have literally created their community from various marginalized people, ranging from petty criminals to avant-garde musicians. Meanwhile, the hunt for Fred continues: he is sought not only by the thugs of her husband Helen, but also by Helena herself, who realizes what fate awaits Fred if he falls into the clutches of her husband. They have to face each other several times and each time their meetings lead to unexpected consequences. However, it soon becomes noticeable that there is a mutual sympathy between Fred and Helen. And now Helen faces a difficult choice: leave a secure life with a husband she does not love, and move on to an eternally wandering life with Fred. . .
At the time of the release of “Underground” in 1985, this film by Luc Besson was a real breakthrough, for which she received many nominations for the Cesar Award (the French equivalent of the Oscar), winning three of them, including for the leading male role when Christopher Lambert became its youngest winner. In general, the image of Fred is something that will be remembered for a long time. He seems to be like a freak who lives as he should and goes where his fate throws him. It is noticeable that it has something of a post-punk style, but Lambert’s mesmerizing and soulful look, coupled with his hoarse laughter, magnetizes to his hero. Isabelle Adjani is beautiful in her role. You can only watch Underground for two scenes of her brilliant performances: I mean, when she ends up at a dinner party with her husband’s relatives and in the most poisonous way spills out everything she thinks about their arrogance, and the final scene, when she violently unleashes anger on those who attacked Fred. And thus Lambert and Ajani create a delightful duo of people who have found each other, but they are completely different, but they are drawn inexplicably to each other.
Of course, we should note the scenery, which shows us some fantastic world of dark dungeons, which no socially adapted resident of Paris knows. And by the choice of costumes, Luc Besson showed that he has a great taste, which he fully proved when shooting The Fifth Element (1997), inviting fashion designer Jean-Paul Gaultier to collaborate. For the acting has already been described above, but about Ajani it was said that it is worth watching “Underground” for her, but it would be dishonest if you do not mention the magnificent soundtrack from Eric Serra, which can be admired. And here Besson proves that the musical accompaniment to his films, he knows how to select talentedly and tastefully. In general, “Underground” is a French classic that is worth seeing.
8 out of 10
Fred is a classic charming criminal who trades in theft and blackmail. Elena is his next victim. They meet in the subway and immerse themselves in its world, get acquainted with its population and imbue with the atmosphere of this mysterious place. And the police are on their way to get Fred. . .
Hearing the name of Luc Besson, we imagine either cool 'Fifth Element' (sorry, 'Valerian' doesn't apply to you), or action movies about the Asian mafia (of different quality), or stylish 'Leona' and 'Nikita' But there was a time when they had not yet come out, and Besson the public already knew - thanks to this criminal tragicomedy about a small, invisible to most, but such an interesting community that lives its life in plain sight. Someone steals, someone plays music, someone trades, and they all indulge in simple joys at leisure - drink, communicate. Sometimes they hide from the police.
By the way, the police in ' Subway' are not so much villains as just other inhabitants of the subway. A relatively hostile tribe, so to speak. In general, the only character who can pass for a villain appears for a total of five minutes. And the rest are ordinary people, in whom there is more human than in other inhabitants ' the upper world'.
The story of people could not do without colorful characters, and here they are. There are the main characters, and a dashing roller-thief, and a merry flowerman, and a silent drummer, and even Batman and Robin, and they are all alive and charismatic. Real.
Of course, you can talk for a long time about both the social message and the cultural one (but it will be a spoiler), but you do not want to. Everything is on the surface, simple and clear, like the life of the inhabitants of the Paris subway (fortunately, without tedious pronunciations). I just want to admire a stylish story about interesting people and their cheerful community, which becomes close even through the screen.
10 out of 10
I read positive and enthusiastic reviews and decided to watch this movie. Of course, I saw '5th element', 'Leon' and 'Nikita'. Nikita of all liked the least (but at the time of release the idea was cool).
And so I teleported in 1985.
The movie isn't exactly what I expected. And you can not call him bad, but he does not deserve rave reviews in such a quantity.
What I liked:
The cinema is atmospheric. The characters are colorful. The picture is intriguing. Christopher Lambert (then, by the way, Christophe Lambert) with a wild hairstyle a la Little Prince, in a tuxedo, climbing the Paris subway is a fat plus. The picture is very cool. And even when Lambert's character got dressed up (and walked like that until the end of the film), it was colorful, too. In short, Lambert played the role of a freak perfectly. Besson knows a lot about casting.
The only woman in the film (from whom Lambert stole the documents) is very beautiful and spectacular. A real Frenchwoman. It was good to watch, it was good to see.
Actually, all the characters are spelled out. I liked that they weren't cardboard. Everyone has their own color. And the guy on the rollers, and, of course, Jean Reno (still completely unknown then). I would even say that every one of those few characters there is, every one is well done. And the actors did a great job.
That is why I watched the film to the end and, in general, do not regret the time spent.
And I would like to highlight the music. It is stylish and immerses in the atmosphere of the time.
That I didn't like.
Big fat minus for the plot. He's gone. It's cut in disjointed pieces. And after each new round, ask yourself the question '. Why?'. It is unclear what relationship the main characters have. The heroine told us the story, but still nothing is clear. It is not clear what the lost creature is the main character Fred (Lambert). I mean, I certainly thought it was an allusion to the Little Prince. But, damn it, it was necessary somehow competently filed!
Instead, we see all the screen time of a cute, intriguing freak who deals with nonsense. He's hanging out with someone. It is unclear what kind of relationship he has with a woman. Why he loves her. Why doesn't she love him? Or does he? I don't even want to know.
And all these questions remain unsolved until the end. It is not clear why Fred is so strange, and how he even lived to his years with such a strange worldview and lifestyle.
So there's no story, it's just a bit of a snag, and it's really disappointing. I expected anything but this nonsense. Now they will fly at me ' slippers ' well, let them fly. If you think I ' didn't understand ' in this 'genius' film, I'll tell you - ' there's nothing to understand'.
I suspect the purpose of the film is to create an atmosphere. Target accomplished. It seems to me that this movie is more drawn to a high-quality long clip with plot elements, rather than a full-fledged picture. And if you remember that it was filmed back in 1985, when we still ' trees were big, Soviet childhood was happy, and mo-lo-coo came to the courtyard' But somewhere far away in the Parisian subway was such an unusual Christophe Lambert with a hairstyle like Little Prince with his signature ' wolf' look and ' wounded' soul, then, of course, this movie could be very cult. And it could be good to beat our Soviet youth.
When the sun shone brighter, the grass was greener, and there were fewer cracks on the asphalt, people were more willing than in the era of information domination. Like high school students, the chicks of the French cinematic nest possessed matchmaking, remembered by heart all the authors of the magazine “Caye du Cinema” and were able to convert their work into their own works with an unchanged national color. The front-runner of his generation, Luc Besson was a follower of Truffaut, Godard and Rivette, but from the very first independent steps began to demonstrate the individuality of the style. It does not matter in what environment he poured energy, intelligence and enthusiasm. The enterprising experimenter was equally comfortable in the post-apocalyptic devastation, at the depths of the sea, or in the scattered, as far as eyes can see, communications of the Paris metro. A person tends to get carried away with something and devote himself to it without a trace, but not everyone is able to infect his tastes, skillfully using the historical context. Besson – smog, and three decades later, “Underground” still proudly bears the title of the most original of his paintings.
In love, as in war, all means are good. Especially if the object of desire is a luxurious lady from high society, on whose face an unbearable boredom was registered. Of course, the beauty for order will complain to the police about the thief who blew her safe, but at the appointed hour will still come at his request, sparkling with diamonds. Is she so naive that she lost her sense of smell? By no means, she is only looking for salvation from the sucking routine, and certainly not her fault that the antipode of the rank-and-file establishment with bleached rat hair is lurking in the dungeon. Strange feelings, illogical connection, unclear status - all the confusion, exactly like the buttons on the control room. One thing is certain – there is life under the earth, with its own laws, concepts and habits. The subculture of the outcasts is a surprisingly hospitable underground, especially if you don’t bring your “tail”, rattling with handcuffs and understanding only the language of orders. The passport will not be asked here, they will not get to the past sins, and they will open their eyes to something. A man is not born for captivity, barely feathered pigeon he will slip into the window. He must have a dream. To love or to music is how the heart decides.
To cynical metal grinding - about this is the symptomatology of feelings between the thief Fred and the aristocrat Helena. Their fragmentary dialogues are constantly lacking words, the most important ones. Circumstances interfere with trust in a relationship, which, oddly enough, is possible despite the roles of the perpetrator and the victim. Besson, in his inherent arrogant style, rids the heroes of their past and breaks out with mocking satire over police helplessness and the dullness of a “money bag” that has lost a companion. The real protest in the film does not sound, the director does not aim to overthrow long-standing foundations or moral norms, but shows the reverse side of reality, which people can stumble upon only by chance. And in the name of this motivating goal, all means are good, each subsequent chord speeds up the rhythm. With drummer Reno's sticks - yes, taboo and taboo. Movement is life, active existence is the main idea. The most terrible sin according to Besson is the satiety radiated by the suede commissar performed by the hilarious Michel Galabre. And the ability of a grated police kalach at an unexpected moment to be more agile than young colleagues is a worthy reminder that no one on a saucer with a blue border will present freedom.
In accordance with the commandment “do no harm”, which applies to many spheres, Besson provided an impressive space for improvisation, which the talented Lambert-Ajani couple willingly and took advantage of. For all the courage of the moves involved, as in the case of ragged editing, traditionally excellent soundtrack and accent camera work, "Underground", first of all, is strong in acting roles. In a single organism, not a single valve has failed, and the progressive directorial style is felt in all the compositional nuances, whether it is ironic dialogues, pompous passages of the commissioner with a retinue or episodes with musical numbers. Unlike his illustrious teachers, Besson was no stranger to healthy fancifulness, and it is no coincidence that with such ecstasy he demonstrates the well-being of the heroine Ajani, paying close attention to her excellent figure and fine facial features.
Showy tinsel and an abundance of witty techniques do not obscure the meaning, but it is formulated simply: in any life there should be a struggle for the implementation of interesting plans and true love. The criminal background of the “Underground” paradoxically complements its specific romance, and therefore the farewell dance of Helena and Fred is remembered more willingly than the equally dark tunnels. The Paris subway is far from paradise, but in talented hands it is not without attraction. Besson, at an early stage of his career, well separated the concept of “idea” and “background”, and tried not to suck the former into himself. Times are changing and people are with them. There is only one thing that must always be left behind. No problem, it will not shine with the brightness of the diamond. More important is the sincere smile that illuminates the face at the mention of the high-quality work of a great master.
Many years ago, I watched Luc Besson’s movie The Fifth Element. At that time, the film made a corresponding impression, but without shock. And now it’s time to watch one of the very famous pictures of this director “Underground”. What can I say? Expecting a little more and another. This movie was a powerful crime drama. The drama may have worked, but nothing moved inside. What does this mean?Let’s go straight.
Besson shows us all the “beauties” of life in the subway. That is, how thefts occur and how law enforcement officers catch criminals. Of course, this is not the basic idea in the film, but quite exaggerated. Christopher Lambert appears as one of the intruders, a kind of Robin Hood, with a very extravagant hairstyle. It is expected that our eccentric protagonist will have love. Is it predicted that it will be his victim? And that same love comes in the form of Helen (Izabel Ajani), the wife of a mobster. It's hard to believe Helen's feelings for Fred (Christopher Lambert) because the film doesn't show us that. And only at the end, we will see that there are feelings!
There's gonna be a rollerblade thief in this movie. Not a faceless character, but a shocking Lambert, of course inferior. And the flowerman in the person of the hero Richard Boringe will make the most pleasant impression. Jean Reno practically does not speak, but only knocks drumsticks, but his appearance is funny, which is true, then true.
I think it’s a huge disadvantage to see the police in the film. These comrades, in the person of the Commissioner and Batman and Robin, are shown as gendarmes and from Saint-Tropez with Louis de Funes. You don't believe in cops like that unless it's a comedy. And since there is a genre that claims to be a drama, Besson could pick up other actors and endow them with believable replicas. That's what I think.
I would like to mention the beauty of Isabel Adjani. A brunette with blue eyes and sensual lips. A woman tired of her husband’s machinations and met a crank (Lambert). Iroquois in solidarity with Fred's hairstyle. The film deserves attention, but does not take for the soul. These are the thoughts.
- Who is this guy?
- Cinderella!
- Your Cinderella has a huge gun in her purse.
- This is her magic wand.
Dialogue from the film.
We all have our favorite movies. And often these films are as simple as five cents. But time after time we watch them, knowing literally by heart, without losing interest from the first to the last minute. I have a few movies like this, and I can’t explain what’s so special about them, and I don’t think other people can explain what’s so special about their favorite movies. When I was asked what you like about this movie, I couldn’t answer that question. I assume that you do not need to answer this question, you just need to watch your favorite movies.
Some rather mysterious man named Fred (Christophe Lambert) while on the birthday of Helen (Izabel Adjani) steals important documents, simultaneously blowing up the safe (explaining this his dislike of safes). Hiding from persecution, Fred finds himself in the Paris metro, where he meets various people, organizes a musical group, carries out a robbery and almost dies.
“Underground” was shot by Luc Besson, he was then 26 years old and as for me, this is the main thing that is worth starting from when talking about this film. It seems to me that Besson at that time felt like a freelance artist, an innovator, he wanted to scream with his films. And he filmed about himself and his surroundings. The main character Fred looks very similar to Besson. What happens on the screen is somewhat chaotic, the main characters do not have a specific goal, they act on a whim. Similarly, Besson shot this film, the main thing was to reflect the world in which the heroes and Besson himself are.
If you analyze what is happening, then a lot of questions arise, and why, and why, and how so, inconsistencies catch your eye. But the thing is that the main thing here is not the plot, but the first sensations. Feelings when a person first encounters a new world unknown to them and how these sensations can change them. For Besson, this film is the realization of his feelings obtained when communicating with people who are outside the generally accepted norms.
Besson here is not acting as a director, but as his boyfriend talking, it would be cool to do this and then do this. Besson is immersed in his world. This world is clearly divided into motley inhabitants of the subway and the world outside. The world of Besson is a subway, all the characters are outlined here, everything is real, the world outside is artificial. Besson is interested only in those characters who are unsatisfied, do not fit into the general order, all the others are funny, irritable, and the police are generally presented as a collection of sluts who do not know how to use the radio.
Christophe Lambert, as Fred, is very good. Where does he come from, what does he want, and does he know what he wants? Money is not the main thing for him, the main feeling. He fell in love with Helen at first sight and all his actions are based on this feeling, no matter what happens next, the main thing is here and now. Perhaps in the face of Fred we see a self-portrait of Luke Besson. It’s hard to imagine anyone else as Fred.
Isabelle Adjani, I didn't like her very much, she was quite cold, static, and her face was too white. But overall she's beautiful and I understand why Fred fell in love with her. Besides, Isabel here vaguely resembles Sophie Marceau, which means that there will be no claims on my part.
Michel Galabreux played Commissioner Gébert. I didn't like it very much, more like a caricature of a police officer. But in general, this fits into the idea of Besson, only the inhabitants of the subway are real.
Jean-Pierre Bakri as Inspector Batman, liked it. Bakri has turned out a kind of pedant who wants to serve before Commissioner Gébert by any means. Successful only in reporting his whereabouts and making coffee to the commissioner. Funny moment when he caught the criminal and received permission to continue the persecution, rejoices like a child.
The thief on rollers (Jean-Yug Anglad) is one of the key characters, played Anglad normally, fit into the overall picture, although he did not manage to prove himself.
The best role, in my opinion, is Richard Borenge, the flowerman. Although he did not appear so often, all episodes with his participation are remembered. The only inhabitant of the subway, has a goal and clearly implements it. If the roller wanted to rob collectors, the flowerman took it and did it.
It was nice to see Jean Renaud, although he had few lines, but each of them is funny and memorable.
It is worth noting the work of Besson’s reliable collaborator Eric Serra, the soundtrack plays a very important role in the film, often eliminating the need for characters to speak. There are several songs from the film in my player. The final concert was also well done.
I’ve seen some great scenes from different movies. But my favorite scene of all time was this movie. The scene where the heroes sit in a tunnel and watch the sleepers being replaced. Such moments have probably been in everyone’s life, you don’t need words, you and the people next to you just look at something or do something, like nothing special, but this moment you will remember for life. Try to repeat it. But you can’t repeat it, you just need to take a moment.
The scene of the dance of Fred and Helen is also perceived, everything is clear without words.
I don't know what's wrong with this movie. It’s not a masterpiece, there are a lot of movies I’ve seen that are much better. I fell in love with this movie the first time I saw it. Since then, I have reviewed it about once a year. But it's more personal than logical. After all, if you set a goal, find shortcomings, then it is much easier to do it than to explain its advantages. But I don't feel like doing that at all. Besson did not know how to shoot, but he did it sincerely and for this you turn a blind eye to the shortcomings. But “Underground” will not appeal to everyone. The recipe, perhaps, is one, interesting films by Luc Besson to watch, and in general you will not lose anything if you do not spend time on it.
Rating
A talented thief named Fred helps a very pretty girl, Helen, and she, as a sign of gratitude, invites him to her birthday. As a result, the temptation to blow up a nearby safe was above decency and personal sympathy for a rich lady. In the end, Fred goes on the run, taking with him a very important folder with documents. It turns out that this is very important information that can affect the fate of the husband of Helen, who is a famous and rich person. All the contents of the safe were returned immediately, but the main character with a strange hairstyle decided to keep his father. Otherwise, he will no longer be able to see the charming lady, whom marriage brings absolutely no happiness. Hiding in remote subway tunnels, Fred finds new friends and begins to pursue his long-held childhood dream. He really wants to assemble a high-quality musical group, and where, like in the underground alleys of the subway, you can meet outstanding but underrated talented people. Meanwhile, serious people begin to engage in the search for a robber, usually not on ceremony with similar types, like the daring Fred.
This early sample of the pen of now one of the most famous French directors, Luc Besson, is not much remarkable in almost all respects. The story is not quite dynamic and interesting, and it is not an easy task to capture the essence of the main idea in general. Nevertheless, “Underground” looks like a very fascinating and integral spectacle, equipped with a stunning picture, which even then was noticeable hand of the future master, as well as endowed with fantastic musical accompaniment, which gave the atmosphere even more mystery. One of the few disadvantages of this project can be considered not only the aforementioned weak scenario, but also some clumsiness of everything that is happening. For example, the silence of the main character on the one hand adds to his charming mystery, and on the other, deprives him of the opportunity to learn more about his inner world or elementary plans for the future.
This gives rise to a sense of chaos, which is exacerbated by the appearance of several similar individuals. Both are residents of vast service tunnels, and one of them constantly carries drumsticks and tries to play everything he sees in front of him. At the same time, he speaks very rarely, but accurately. Several times this character without a name was a good joke about “cinderella, with this revolver in his purse.” What is immediately worth noting is the original technical techniques used by Besson to film the initial chase and running on the territory of the subway. These chips allow you to become part of these drive-filled scenes and even feel a certain influx of adrenaline in the blood. But, most of all, this is not remembered, but the appearance of the main characters, and to be more precise, their unusual hairstyles. What is only worth the Mohawk Helen, who caused a resonance at an intelligent dinner organized by her husband's acquaintances.
I was very impressed by the soundtrack, similar in its content to the futuristic tapes of those times. It was music that gave the quite ordinary French subway extraterrestrial colors and made almost a territory of wonders. Besson in this regard already then had a great musical taste and competently knew how to choose compositions for their projects. Since we started, we should praise the atmospheric picture a little. When watching, there was a feeling that you were not watching a dramatic detective (although few people will be able to name the genre correctly), but some kind of social fiction. And this is not bad, it just completely confuses in a somewhat murky narrative and sometimes even the efforts of the director do not help distract the viewer from the surface storyline. In fact, this story serves only as a background for picturesque deep landscapes, but nevertheless, it was necessary to at least work on the script and make it more digestible for understanding. The one who cannot be blamed is the actors who tried their best.
Christopher Lambert, who played not the most talkative, but extremely charismatic fraudster Fred, looked great. Not the brightest image he managed to make one of the most memorable in his rich acting career, although special delights in his game was not noticed. Good was also sexy Izabel Adjani, although it is about her heroine that the most questions arise at the end of the viewing. Too illogical behavior and excessive obstinacy were not very entangled with the unearthly appearance and position in which she fell due to her sluggishness. Well, I will not forget to praise the little-known then Jean Reno, whose frantic drummer, not missing a single opportunity to drum on any thing, remembered more than others. However, his name remained hidden from viewing. The rest also coped well with their task and played at a decent level.
Otherwise, “Underground” is a good, original and unusual genre experiment by Luc Besson, who turned out a simple and pleasant movie about the beauty and secrets of the French subway. Despite the confusion, I liked what I saw, so the assessment is as follows:
8 out of 10