Diva (1981)

Directed by Jean-Jacques Beineix; produced by Irène Silberman and Serge Silberman

Jules (Frédéric Andréi) is obsessed with opera singer Cynthia Hawkins (Wilhelmina Wiggins Fernandez), who has never consented to being recorded. He illicitly tapes one of her concerts, intending the music for just himself and friends. But a pair of Taiwanese mobsters learns of and covets it. Meanwhile, the police are trying to shut down a murderous prostitution ring, their efforts hinging on a cassette recording. In the deadly confusion that results, Jules may or may not be aided by a roller-skating kleptomaniac and her boyfriend - an enigmatic man who assembles giant jigsaw puzzles in an empty warehouse - all the while growing closer to his idol.

Not your usual crime or caper film, Diva nonetheless entertains with a number of its elements. Ironically, the relationship between Jules and Cynthia is the least compelling aspect of the film, and the scenes given to their platonic romance seem to come from a rather different movie. Even so, these scenes create an atmosphere that gives Diva a definitely French background.

That atmosphere is assisted by the direction and cinematography, and especially by the choice of locations. They move from stereotypical Parisian streets to a seaside lighthouse - called ‘the magic castle’ which, in a glowing dusk does indeed seem magical - to the literal dump in which Jules lives (it appears to be a resting place for severely damaged automobiles.) The settings are well used by the director, whether the narrow confines of straitened lanes or the wide, open spaces of huge, empty rooms. It may be a commonplace that the use of colours, sometimes one shade for everything in a scene, creates mood, but the old axiom pays dividends here.

Also included is an exciting chase sequence, involving a running cop and a fleeing suspect on a moped; external and internal staircases, subway trains and ancient arcades are all used in an unusual and extended action sequence.

The story is rather complicated, as may be guessed from the synopsis. It is not difficult to follow, but the different strands of the plot move along separately, then intersect, then part once more. It opens up from the simple tale of gentle obsession that it at first appears to be.

Added to the interest is the uncertainty as to what side some characters are on, if any, and what they will do. The character of Serge Gorodish (Richard Bohringer) in his warehouse has many layers; one suspects his calm and confident demeanour throughout the movie comes from being more than, well, whatever he is. Also, since personalities involved in the story seem either fluid or mysterious in their allegiance, there is no predicting how the movie will end, which is always a plus with thrillers.

The acting is very good, with the exception of Fernandez, whose lines are recited rather stiltedly, and whose emotions while convincing, nevertheless feel too acted. The other performers, most of whom have bigger parts than she, do fine work, managing to blend realism with the slightly fantastic, and making the plot, at first small and personal, actionful and entertaining, yet credible.

Equal parts style, plot and character create a winning film in Diva.