Indochine is long and sometimes moves at a rather slow pace, which I don't mind, so long as the movie holds my interest. Scenes throughout Indochine interrupt the slowness to startle, sometimes with violence and nearly always with a rush of events taking place in a short space of time. The setting is French Indo-China during the 30s and 40s when the seeds of rebellion against colonialism were already sprouting. I remembered very little of the film besides the gorgeous scenery and cinematography, Deneuve's usual beauty, and her romance with the younger French naval officer, so it was a bit like seeing the film for the first time. Little had I realized what a beautiful country Vietnam is before I saw the movie the first time. The story is well-scripted and directed, and the actors, especially Deneuve, are excellent.
It's still a mystery to me why the powers-that-be in the US ignored the recent history of the French war in Indo-China that lasted 15 years and foolishly decided to launch a war in the country, which resulted in deadly, tragic consequences. The domino theory of the threat of the spread of communism in Asia, along with our hubris in imagining we could stop the movement and impose our version of democracy in the country produced a folly beyond our imaginings. Colonialism is always cruel, but our attempt to "fix" the country was no less cruel.
The Last Metro (1980), written and directed by François Truffaut, takes place during the occupation of Paris by the Nazis during World War II. Along with Deneuve, a young Gérard Depardieu, appears in the film. A number of the scenes in the movie are dark, literally, because they are set outside at night or in the basement of a theater, where Deneuve's husband (Heinz Bennent), the owner and producer of the theater, is hiding from the Nazis because he is Jewish. The darkness is quite appropriate as the occupation of Paris was indeed a dark time. The title refers to the curfew when Metro service was cut off at a certain time in the evening, and Parisians could not be out and about. As is often the case, Truffaut leaves us in the end with surprise and ambiguity.
Both films are in French with English subtitles, for which I'm grateful. I hate dubbed foreign language movies. I'll never forget the dubbed Italian film during which I could hardly keep from laughing out loud in the theater, as I watched the Italian actors speak with Midwestern American accents. I intended for the reviews to be short and sweet, but I'm too much like The Long-Winded Lady, Maeve Brennan, who wrote for The New Yorker some years ago, except I don't write nearly as well.
The Netflix DVD mail program is a treasure trove of fine older films, which will probably end sooner or later as the company moves exclusively to streaming, but I will be very sorry. One plus for the DVD program is that new movies are usually available on DVD sooner than for streaming on the internet. Also, once the company owns the DVD, it is theirs, whereas streaming rights can be withdrawn at any time.
