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    3. Zazie dans le metro (1960) [The Criterion Collection #570]

    Zazie dans le metro (1960) [The Criterion Collection #570]

    Posted By: Someonelse
    Date: 17 Jul 2011 21:11:00
    Zazie dans le metro (1960) [The Criterion Collection #570]

    Zazie dans le métro (1960) [The Criterion Collection #570]
    A Film by Louis Malle
    DVD9 | VIDEO_TS | NTSC 4:3 | 01:32:41 | 7,66 Gb
    Audio: French AC3 1.0 @ 192 Kbps | Subs: English
    Genre: Comedy, Fantasy

    A brash and precocious ten-year-old (Catherine Demongeot) comes to Paris for a whirlwind weekend with her rakish uncle (Philippe Noiret); he and the viewer get more than they bargained for, however, in this anarchic comedy from Louis Malle, which rides roughshod over the City of Light. Based on a popular novel by Raymond Queneau that had been considered unadaptable, Malle’s audacious Zazie dans le métro, made with flair on the cusp of the French New Wave, is a bit of stream-of-consciousness slapstick, wall-to-wall with visual gags, editing tricks, and effects.

    IMDB
    Criterion

    Of the French New Wavers, only Jean-Luc Godard, Jacques Rivette and Eric Rohmer held on to the critical esteem the movement had garnered from its inception. They managed it by virtue of consistency in the auteurist world of cinephiles, or of art culture in general, nothing spells "genius" like years of work that follows the same star, expresses the same ideas, exudes the same sensibility.

    Claude Chabrol prioritized crime, but then he made Madame Bovary (1991). Francois Truffaut, probably the wave's most popular figure, had always suffered in the cognoscenti's eyes for his own catholic range of interests romance, historical drama, Hitchcockian thriller, dystopian sci-fi, whatever piqued his interest. Probably the most fickle of the pack from the outset, Louis Malle has been impossible to nail down: one minute he's doing gritty New Wave street romances, the next he's making documentaries in India, the next he's helming bizarre international productions and then quirky American indies and then autobiographical sagas in France again, and then literary adaptations in London and New York. Along the way he's had spectacular box office successes and humiliating crash-&-burns the other New Wavers never knew from. And he romanced Susan Sarandon, Alexandra Stewart and Candice Bergen.

    Zazie dans le metro (1960) [The Criterion Collection #570]

    Even so, nothing in Malle's filmography, or in the French New Wave in general, could prep you for the departure that Zazie dans le Metro (1960) represents it's like a film from Mars, a very *French* Mars. It bears no discernible relation to his previous two features (nor the pioneering documentary made with and about Jacques Cousteau in 1956, The Silent World), and amid the Wave's DIY burst of indie creativity it seems ludicrously out of place. Shot in effervescent color while the movement's other films were indelibly black-&-white, and seemingly employing the entirety of a caught-in-amber 1960 Paris, Malle's movie is an anarchist farce, baldly, bravely approximating the worldview of its titular heroine, a spritely, irreverent, vandalizing brat (an eleven-year-old tomboy named Catherine Demongeot) as she visits her uncle (Philippe Noiret) in Paris while her mother departs for a romantic weekend.

    Zazie's destructive, carefree asocial escapades make up what passes for a plot; her uncle and an identity-swapping policeman (Vittorio Caprioli) pursue her across the city (or sometimes forget to, overwhelmed as they occasionally are with romantic distractions), as she, a country girl, is determined to ride the Metro trains whether they're striking or not. Based on an impish novel by Raymond Queneau, Malle's film uses the whimsical semi-story as license to break the bank in terms of absurdist schtick and high-flying nonsense. Virtually no old-school gag-trick is left out: silent-comedy fast motion, gobbledygook language play (rather impressively translated into pidgin English in the newly restored subtitles), in-camera sleight-of-hand, splats of comic-book animation, musical impromptus, non sequitur cutaways, social satire, surrealistic touches (random shoes sold at a market play music when Zazie picks them up), even a climactic food fight-slash-set-demolition. It's a frenetic chaos, often evoking the Keystone Kops but actually more often a mash-up between the Three Stooges and Jacques Tati, as imagined by Tex Avery.

    Zazie dans le metro (1960) [The Criterion Collection #570]

    The odd thing about Zazie is that it is rarely funny despite its Tasmanian Devil-like efforts toward silliness, confrontational disrespect and loopy character excess (or, perhaps, because of them), there's precious little visual or textual wit at work. There may be something more serious, more daring, going on. There is a conscientious effort in Zazie at facing down scandalous ideas with a kid's guileless smile sex is on everyone's minds and molestation of the heroine is a constant threat (and a constant suspicion), albeit one that never dampens Zazie's spirits. In one breathtakingly taste-violating scene, Zazie recounts to Caprioli's cop over a messy plate of mussels how her father came to be killed by her mother alone with the girl, the faceless patriarch was drunk and under the impression that the mother was gone for a long shopping trip, a scenario that we're led to believe will lead to a pedophilic episode. But as Zazie begins to tell what happened next, throwing mussel shells into the sauce and splattering the jacket of her fussy companion, Malle runs her dialogue backwards, and only makes it intelligible again at the end of the story, in which the mother returns, catches the bastard, and kills him with an axe.

    Zazie dans le metro (1960) [The Criterion Collection #570]

    Perhaps Zazie isn't even intended as a comedy it just uses the tropes of screen comedy (overuses them, you could say) to express a child's perspective, a point of view that may be inherently joyful but isn't necessarily funny, and which sees the world of adults as an assbackwards carnival of pointless propriety, sexually motivated idiocy and self-importance. The film makes light of sexual deviance (of various kinds), not merely because it is French (Malle made his first authentic international splash in 1971 with Murmur of the Heart, in which a moment of mother-son incest serves as the story's warm-hearted resolution), but because from a child's position sex is often preposterous, scary nonsense, fruitlessly pursued at all costs by grown-ups who become foolish in its grip. Seen this way, the elan that bubbles out of Malle's film is not only genuine but heroic.

    Zazie dans le metro (1960) [The Criterion Collection #570]

    The film is also, on the most superficial level, a time-trip back to the sizzling Paris of the late 1950s (never photographed as pristinely as here), and back to the heyday of imported foreign films in the U.S., when there were so many sexually frank European films on the market that the American middle-class could organically arrive at stereotypical ideas about what's "French" (or "Swedish," or "Italian"). Zazie was one of those movies, a viewing experience that helped erect a pop myth in our heads about woozily horny Frenchmen, supercool French women (here, the cat-eyed Carla Marlier), a perpetually sunny Paris where no one has a real job, and a France where the pursuit of pleasure is the highest calling. Ironically, of course, the point of Malle's movie is that this vision belongs only to a fidgety, troublemaking preadolescent. Reality is something else altogether.
    Michael Atkinson, Turner Classic Movies
    Zazie dans le metro (1960) [The Criterion Collection #570]

    Disc Features:
    - New high-definition digital restoration
    - Archival video interviews with director Louis Malle, novelist Raymond Queneau, actress Catherine Demongeot, and screenwriter Jean-Paul Rappeneau
    - New audio interview with director and photographer William Klein, artistic consultant on the film
    - Le Paris de Zazie, a 2005 video piece featuring assistant director Philippe Collin
    - Original theatrical trailer
    - New and improved English subtitle translation

    Many Thanks to Original uploader.

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