Diva
Directed by Jean-Jacque Beinex
The re-release of Jean-Jacques Beineix’s postmodern classic Diva at Film Forum this week may come as a surprise. Not because it doesn’t deserve it, but because it has aged so well. Beineix’s reprinted and retranslated directorial debut looks and sounds superb, with a hybrid score of pop and opera, bold and colorful costume and set design and entrancing cinematography. It also flows between its romance, drama and thriller plots more smoothly than today’s best genre-blenders.
The story begins when Jules (Frédéric Andréi), a moped-riding delivery boy, clandestinely records a performance by opera singer Cynthia Hawkins (the title’s diva, played by Wilhelmenia Fernandez). This recording is confused with another Jules receives accidentally, inculpating a Parisian police chief in drug and sex worker trafficking. Multiple parties come after Jules’ tapes while he falls in love with Hawkins, and befriends an intriguing couple (played by Thuy An Luu and Richard Bohringer).
Throughout, Diva borrows from surveillance and stake-out movies like Blowup and The Conversation, and early blockbusters like The French Connection—whose canonic chase sequence Beineix shames when Jules rides his motorcycle through the Paris metro. But as much as Diva looks like it’s coming out for the first time, its story and style are rooted in a specific cultural situation.
Diva’s release in 1981 marked the second turning point in French cinema, after the emergence of the French New Wave. Once the New Wave’s disjointed style became the norm, however, the movement lost steam. Then came Diva, the second turning point, directly responding to the first. After alienating film essays by polemical directors, Beineix introduced a trendy, cool aesthetic that favored plot development. Diva sparked is own movement, dubbed “Cinéma du look,” rooted in the disenfranchised youth subcultures of Paris in the 1980s, as opposed to the pedantic projects of the previous generation of filmmakers.
In its cultural moment, Diva’s crime plot pitting stylish Paris hipsters against corrupt old Frenchmen anticipated the young filmmakers of the “Cinéma du look,” reacting against the entrenched older directors of the New Wave. This is not to reduce Diva to an opposition between young and old, just to show that there’s a lot going on under its surface cool.
Directed by Jean-Jacque Beinex
The re-release of Jean-Jacques Beineix’s postmodern classic Diva at Film Forum this week may come as a surprise. Not because it doesn’t deserve it, but because it has aged so well. Beineix’s reprinted and retranslated directorial debut looks and sounds superb, with a hybrid score of pop and opera, bold and colorful costume and set design and entrancing cinematography. It also flows between its romance, drama and thriller plots more smoothly than today’s best genre-blenders.
The story begins when Jules (Frédéric Andréi), a moped-riding delivery boy, clandestinely records a performance by opera singer Cynthia Hawkins (the title’s diva, played by Wilhelmenia Fernandez). This recording is confused with another Jules receives accidentally, inculpating a Parisian police chief in drug and sex worker trafficking. Multiple parties come after Jules’ tapes while he falls in love with Hawkins, and befriends an intriguing couple (played by Thuy An Luu and Richard Bohringer).
Throughout, Diva borrows from surveillance and stake-out movies like Blowup and The Conversation, and early blockbusters like The French Connection—whose canonic chase sequence Beineix shames when Jules rides his motorcycle through the Paris metro. But as much as Diva looks like it’s coming out for the first time, its story and style are rooted in a specific cultural situation.
Diva’s release in 1981 marked the second turning point in French cinema, after the emergence of the French New Wave. Once the New Wave’s disjointed style became the norm, however, the movement lost steam. Then came Diva, the second turning point, directly responding to the first. After alienating film essays by polemical directors, Beineix introduced a trendy, cool aesthetic that favored plot development. Diva sparked is own movement, dubbed “Cinéma du look,” rooted in the disenfranchised youth subcultures of Paris in the 1980s, as opposed to the pedantic projects of the previous generation of filmmakers.
In its cultural moment, Diva’s crime plot pitting stylish Paris hipsters against corrupt old Frenchmen anticipated the young filmmakers of the “Cinéma du look,” reacting against the entrenched older directors of the New Wave. This is not to reduce Diva to an opposition between young and old, just to show that there’s a lot going on under its surface cool.
