DIVA – Jean-Jacques Beineix
Diva is one of a clique of films that are not so much about story-telling and creating a credible universe as they are a stimulating and fun exercise in the film-making craft itself.
Jules, a moped-driving mailman obsessed with music and in particular the voice of a world famous opera singer Cynthia Watkins (the ‘diva’ of this piece) spends his money on expensive sound equipment, which he uses to make a bootleg of Cynthia’s concert, since she does not allow any recording of her performances. He intends to keep the copy for his own use, but others who know of the bootleg wish to obtain it for commercial purposes and they can get quite ruthless. In another thread, a woman being chased by a mysterious duo drops a tape into Jules’ bike bag just before they murder her. Jules, who has struck up an acquaintance with his idol, now finds himself chased by various people including the police and very little is clear to him.
Diva’s narrative is not particularly well knit and there are any number of plot-holes and absurdities for one so inclined to point them out. But the story is used merely as a framework for the director to give us a style-laden titillating experience, which is his intent from the start. From moody, meditative shots of Parisian cityscape to a thrilling if unrealistic chase scene where Jules on his moped is speeding up and down the subways chased by a policeman on foot to the classic noir-influenced depiction of the dealings between the characters, this is one major spit and polish enterprise.
The biggest chunk of credit for the film’s success goes to director of photography Philippe Rousselot who under Beineix’s direction has provided a veritable feast for the eyes. Every single frame of the film, be it landscape, interiors or the faces of the actors, is captured impeccably and with bucketloads of style. Angles, colors, movements and lighting schemes are selected and implemented with astounding chutzpah and spliced together with finesse. The film is worth seeing even if you have absolutely no interest in the story and characters, it looks that good.
The sound design makes brilliant use of opera music for a lush aural experience along with some nicely done synth-pop background. There is the odd bit of shallow but trendy fusion in the subway chase scene.
All in all I found Diva to be an entertaining and visually ravishing experience. Sure, a better story would have made for a complete classic, but even in it’s current form this is quite a cool movie, especially for the film buff.
Diva is one of a clique of films that are not so much about story-telling and creating a credible universe as they are a stimulating and fun exercise in the film-making craft itself.
Jules, a moped-driving mailman obsessed with music and in particular the voice of a world famous opera singer Cynthia Watkins (the ‘diva’ of this piece) spends his money on expensive sound equipment, which he uses to make a bootleg of Cynthia’s concert, since she does not allow any recording of her performances. He intends to keep the copy for his own use, but others who know of the bootleg wish to obtain it for commercial purposes and they can get quite ruthless. In another thread, a woman being chased by a mysterious duo drops a tape into Jules’ bike bag just before they murder her. Jules, who has struck up an acquaintance with his idol, now finds himself chased by various people including the police and very little is clear to him.
Diva’s narrative is not particularly well knit and there are any number of plot-holes and absurdities for one so inclined to point them out. But the story is used merely as a framework for the director to give us a style-laden titillating experience, which is his intent from the start. From moody, meditative shots of Parisian cityscape to a thrilling if unrealistic chase scene where Jules on his moped is speeding up and down the subways chased by a policeman on foot to the classic noir-influenced depiction of the dealings between the characters, this is one major spit and polish enterprise.
The biggest chunk of credit for the film’s success goes to director of photography Philippe Rousselot who under Beineix’s direction has provided a veritable feast for the eyes. Every single frame of the film, be it landscape, interiors or the faces of the actors, is captured impeccably and with bucketloads of style. Angles, colors, movements and lighting schemes are selected and implemented with astounding chutzpah and spliced together with finesse. The film is worth seeing even if you have absolutely no interest in the story and characters, it looks that good.
The sound design makes brilliant use of opera music for a lush aural experience along with some nicely done synth-pop background. There is the odd bit of shallow but trendy fusion in the subway chase scene.
All in all I found Diva to be an entertaining and visually ravishing experience. Sure, a better story would have made for a complete classic, but even in it’s current form this is quite a cool movie, especially for the film buff.
