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The Last Metro (1980)
NYT Critics’ Pick
This movie has been designated a Critic’s Pick by the film reviewers of The Times.
THE LAST METRO
François Truffaut’s The Last Metro is a dazzlingly subversive work. The film has the form of a more or less conventional melodrama, about a small Parisian theater company during the 1942-44 Nazi occupation, though the film’s methods are so systematically unconventional that it becomes a gently comic, romantic meditation on love, loyalty, heroism, and history. Not since Lubitsch’s To Be or Not to Be has there been such a triumphantly unorthodox use of grim material that usually prompts movies of pious, prefabricated responses.
The film will be shown at Avery Fisher Hall tonight to conclude the 18th New York Film Festival, and will go into commercial release here later this year.
The Last Metro is a melodrama that discreetly refuses to exercise its melodramatic options. It’s also a love story that scarcely recognizes its lovers. Though the setting is a legitimate theater, the Theatre Montmartre, it’s not an "inside theater" movie. Contrary to what the program for the New York festival says, The Last Metro does not do for the theater what Day for Night did for the cinema.
Day for Night is a lyrical human comedy that finds an almost perfect metaphor for life in the shooting of the film-within-the-film, that is, if life could be speeded up to run at the rate that film runs through a movie camera.
The Last Metro is about a particular time in history. Its Theatre Montmartre is a refuge—actual in the case of one character, and psychological for the others. The theater provides them survival.
Chief among the characters are Marion Steiner (Catherine Deneuve), the Theatre Montmartre’s beautiful, level-headed star and manager; her husband Lucas Steiner (Heinz Bennent), formerly the manager and director of the theater, who has gone underground to escape deportation; Bernard Granger (Gérard Depardieu), Marion’s new leading man, a former Grand Guignol actor who is getting his first major break at the Montmartre; Jean-Loup, the theater’s stage director, a gallant, unflamboyant homosexual; Arlette (Andréa Ferréol), the costume designer; and Nadine Marsac, the Theatre Montmartre’s ambitious, gutsy ingenue, played by Sabine Haudepin who, seventeen years ago, played the small daughter of Catherine and Jules in Jules and Jim.
The Last Metro may be unique among Mr. Truffaut’s films in that it contains a villain, a character beyond any redeeming except, possibly, by God. He is Daxiat, based on the real-life, Nazi-sympathizing, Jew-baiting Paris drama critic who, during the occupation, exercised such power that he was, at one point, on the verge of taking control of the Comédie Française.
As played by Jean-Pierre Richard, he recalls some of the great World War II villains played by the young Walter Slezack. Says Marion Steiner of one of Daxiat’s reviews, "He signed it but it reads like an anonymous letter."
The focal point of the film is the Theatre Montmartre’s production of the French translation of a Norwegian play, La Disparue (The Woman Who Disappeared). From what we see of it, La Disparue appears to be one of those star vehicles, so popular in the 20’s, 30’s, and 40’s, in which leading ladies suffered anguish, including amnesia, talked at great length about love (which they felt they had to deny themselves), and often swooned.
The content of La Disparue, however, is of no more moment than that of Meet Pamela, the rather awful sounding film that was being produced in the course of Day for Night. The Last Metro is about the manner in which the Theatre Montmartre actors approach their work, their shifting relations with each other, and the way in which each responds to the condition of being "occupied."
The Last Metro doesn’t dwell on the horrors of Nazi-encouraged, French anti-Semitism, which flourished during the occupation, but it is haunted by those horrors. They are there in the sorrowful love scenes of Marion and Lucas Steiner, which are among the loveliest moments in all of Mr. Truffaut’s works, and in what seem to be throwaway scenes, as in a chance encounter Marion has at Gestapo headquarters with a young French woman who has been playing both sides to go on living.
The movie, which was photographed by Nestor Almendros, even looks haunted and a bit hungry. The colors are mostly muted. The streets of Paris have the cramped look of streets shot in a studio, which recalls the look of films of forty years ago and reflects the feeling of restriction of life in an occupied zone.
Without going into specific details, I’d also like to commend the shape of the film, which effectively covers the two years of the occupation and leads to a conclusion that, for sheer, bold theatricality, may remind you of the end of Luis Bu–uel’s Tristana.
Tristana doesn’t pop into the mind by chance. It’s not since Tristana that Miss Deneuve has had a role to match that of Marion Steiner, a woman of intelligence, backbone, and the kind of beauty that, you believe, would have made her a star of the Paris stage. With her hair done up in a style I associate with Danielle Darrieux, Miss Deneuve is elegant without being frosty, grand without being great lady-ish. It’s a star performance of a star role.
The entire cast is splendid, including Mr. Depardieu, as much for the control he exercises throughout most of the film as for the strength he displays in the film’s big scene. Heinz Bennent, the father of The Tin Drum’s David Bennent, is also noteworthy in the role that Paul Henreid might have played forty years ago, but without Mr. Bennent’s humor.
It takes a little while to catch the tempo of the film, but pay attention. The Last Metro is about lives surrounded by melodrama, being lived with as little outward fuss as possible. The courage goes without saying, or is acknowledged only obliquely. When the Theatre Montmartre’s cheerfully rotund stage manager says in sudden fury, "I’m not a nice fat man!" the anger expressed is on the other side of a heroic front.
THE LAST METRO (MOVIE)
Directed by François Truffaut; written (in French, with English subtitles) by Mr. Truffaut, Jean-Claude Grumberg, and Suzanne Schiffman; director of photography, Nestor Almendros; edited by Martine Barraqué-Curie; music by Georges Delarue; produced by Jean-José Richer; released by United Artists. Running time: 133 minutes.
With: Catherine Deneuve (Marion Steiner), Gérard Depardieu (Bernard Granger), Heinz Bennent (Lucas Steiner), Jean Poiret (Jean-Loup Cottins), Andréa Ferréol (Arlette Guillaume), Sabine Haudepin (Nadine Marsac), and Maurice Risch (Raymond Boursier).
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