Word: beineix
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Dates: during 1980-1989
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...entry Cross Creek, a dewy-eyed swamp drama starring Mary Steenburgen as Novelist Marjorie Rawlings, and Carlos Saura's dance film, Carmen. But for the four French films in competition-Jean Becker's One Deadly Summer, Patrice Chereau's The Wounded Man, Jean-Jacques Beineix's The Moon in the Gutter and even Bresson's L'Argent-the locals saved their special scorn. At the end of each of these films the crowd whistled derisively and stomped their feet. When Bresson, 81, appeared onstage closing night, he was bombarded with boos. L'Argent...
...PARTICULARLY poignant moment in Jean Jacques Beineix's new movie Diva. Cynthia Hawknis, the striking Black soprano of the title, and her adoring fan Jules stroll through the streets of a rainy and ancient Paris. Floating serenely across grassy parks and statue-ridden boulevards, the pair find themselves suspended in a world more appropriate to the match-making machinations of Maurice Chevalier in Gigi than to the high tech high punk goings-on of the film's other characters. Hawkins carries a ruffled parasol, and young Jules, wearing the kind of lean and hungry look that only a European...
...only problem with Diva is that at times Beineix's knack for adding bizarreness to things like car chases and gangsters verges on the farcical. The Caribbean Connection's two henchmen are truly terrifying, especially the sinister aviator-man only says sentences beginning with "I don't like...." Yet their predilection for popping up in unlikely places becomes unbelievable the fourth or fifth time around. Likewise, Hawkins' ready acceptance of Jules as companion and confidant seems incredible, considering her "I vant to be alone" aura...
...pursue her out of our sight; she runs into the street and collapses, a knife in her back. So far, fine: the sequence has pace, atmosphere, humor, suspense. But the questioning child in every moviegoer wants to know more. Why the bare feet? Why the smile? Why the Metro? Beineix isn't interested in the Why?-only in the What Next...
...better part of two hours, he keeps the viewer interested too. In this torpid movie season, Diva is to be seen and savored for Philippe Rousselot's electric-blue imagery, for Hilton McConnico's extravagant decors, even for the prodigal joy Beineix derives from parading his talent. And there are some quietly astonishing moments when, with just the touch of hand on neck, the film suggests a growing, reciprocal affection between diva and devotee. It is on these occasions that Beineix's seems a promising movie career indeed-when you can see the young man of flair...