The
City of Lost Children (1995) (aka
"La cite des enfants perdus")
"Spectacle" is the only word that can truly describe
Marc Caro and Jean-Pierre Jeunet's "City of Lost Children."
It is a visual banquet. There are so many remarkable
and captivating things to see in the film, that it would
be a masterpiece even if it said nothing or had a horrible
plot and bad acting. But the film has as much in the
story going on as it does on the screen. There's just
an enormous amount of ingredients to enjoy. And the
acting, even by the youngest of children here, is truly
top notch.
Those who wish to be cynical might say that the film
has little new to offer. In fact, it is reminiscent
of several prior films. Terry Gilliam's "Brazil," and
Michael Radcliffe's "1984" are obvious influences, as
is the bodies of work from Tim Burton, David Lynch and
Alex Pryoas ("Dark City," "The Crow"). The film also
easily works within the arena Caro and Jeunet have established
with their prior outing, "Delicatessen." But there is
so much more here as well, opting for a modern version
of a (truly) Grimm fairly tale, the duo invent a landscape
of the fantastical. A futuristic city, where children
are kidnaped and monstrous cybernetic cyclops roam doing
evil, the film becomes a fable of epic proportions.
Children become heros. The strong and innocent become
legends. And a man's love for a young girl provides
the basis for all evil to be squelched. Ah, it sounds
like it's been done before, and it has, but here it
becomes fresh and new.
Most enchanting in the film is the relationship between
American Ron Perlman (who has begun to make a name for
himself, appearing in international films like this
and "Cronos,") and Judith Vittet, as the young Miette.
Perlman plays a sideshow strong man who gets caught
up in the mysteries of the city when the evil cyclops
steal his young male companion, "Little Brother." Vittet,
who plays a young orphan caught up in a David Copperfield-esque
situation, begins to aid Perlman in his search for the
boy, bringing down the wrath of her disturbing "mentors"
(a Lynchian set of older female twins) upon the duo.
The film is generally aimed at adults, even though
it's a children's fable. An "R" rating was stamped on
it during it's initial release because there is a bit
of violence and some images would surely disturb very
young viewers. But the film is so surreal and so deep
that it's not it's content but it's presentation that
surely make it inaccessible to all but the most extraordinary
young viewers. For one thing, it's in French with subtitles.
For another, children might becomes bored with it's
story. This is more a children's film for adults, a
delightful bit of black comic fancy that will delight
and astound the most jaded of older viewers.
It's pointless, really, to try and explain the film.
It has to be seen to be appreciated. Suffice it to say
that if you are enamoured by the influences stated here,
you will find and golden black shimmering masterpiece
within the frame of the film. This is a cinematic treat.
Note:
Music by Angelo Badalamenti. Marianne Faithful sings
a song over the end credits.
The film was nominated for several awards including
the Palm D'or at Cannes.
|
Report
Card
Script:
A+
Acting: A+
Cinematography\Lighting: A+
Special Effects\Make Up: A+
Music: A+
Final
Grade: A+
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