This week in class we talked about Cinéma du look, which is a French Film movement in which the by and large look or style of a film takes priority or is progressively important, over the plot line or story of a film. Luc Besson, Jean-Jacques Beineix and Leos Carax, these directors were said to support style over substance, display over story. It alluded to films that had a smooth, dazzling visual style. It’s primary spotlight is on youthful minimized/estranged youth, destined relationships, skeptical perspective on police, films in which youngsters lean toward friend bunch alliance, rather than familial connection and utilization of scenes in Paris Metro, the utilization of underground transport to symbolize elective underground society. French movie producers were motivated by New Hollywood movies, late Fassbinder films just as, television commercials music recordings, and design photography.
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On wednesday we watched Diva. Diva has so much plot that I don’t even know where to start. Perhaps I’ll start with the two tapes the film is about. Tape one is the contraband record of the wonderful aria Ebben ne andro lontana from Alfredo Catalani’s musical drama La Wally, taped during the recital of the renowned musical show vocalist Cynthia Hawkins. On tape two Nadja, a prostitute, unveils who is the man behind a prostitution ring. The man who has these two tapes is Jules, who is a mailman. He has tape one because tape one because he’s the one who recorded it. He has tape two because Nadja slipped it into his bag just seconds before she’s killed. Not knowing why, Jules winds up escaping from the police and from the mob as a result of the last tape. Since Cynthia Hawkins dependably would not make tape recordings of her voice, two folks from the Taiwanese mafia, who sat simply behind Jules when he recorded his contraband, see their opportunity to make a fortune with it. Meanwhile, Jule progresses toward becoming companions with Cynthia Hawkins when he brings her back a dress he stole after her recital and they spend the day together. He also encounters Alba who is a nice, slick girl with a talent for shoplifting. All this is handled by director Jean-Jacques Beineix with great skill. It is its pop-art style it is it’s one of a kind classification blend of thriller and romance. It is Jules’ loft, which resembles blend of a studio and a garage, it is that magnificent pursue scene where Jules drives down the stairs and takes the Métro with his moped. The list goes on forever. Diva has a diverting story, delightful pictures, abnormal characters and joyous direction. Overall, Diva is an exercise in pure style, combining exciting “hip” visuals with extraordinary music. There are many movies like that, but what makes Diva so memorable is the manner in which it consolidates this smart realistic sight to behold with a dramatic plot, great acting, a dash of sentiment and sex, and even a sprinkling of philosophy. This is a film where the excitement never fails.
“Diva (1981): Jean-Jacques Beineix’s Delirious Debut.” Emanuel Levy, emanuellevy.com/review/diva-1981-9/.
Gibron, Bill. “Style Over Substance: Diva (1981)/ The Red Violin (1998).” PopMatters, PopMatters, 25 Feb. 2018, http://www.popmatters.com/style-over-substance-diva-1981-the-red-violin-1998-2496148056.html.
History of the Motion Picture 