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ISSN 1409-6900 | UDK 82+7     Blesok no. 12 | volume III | January, 2000



                     Peer-reviewed journal
Blesok no. 12January, 2000
Gallery Reviews


p. 1
Ilindenka Petruševa

    A few months ago we were admiring the excellent Italian film “La Vita Bella”, and here we are talking about the subtle – in the form of a crime-comedy – French film “Taxi”. A great distributors’ move – to bring such a sophisticated work, a work within we can discover the vibes of some earlier French films which shaped the everyday ambient and the common people in it. Anyway, the Gall spirit is like that – delicate, subtle… so, such film is “Taxi”, also. The director of this film is Gerard Pires, but the script is signed by the great French film mag Jean Luc Besson, who is also the producer of this film.
    The young French film, which (obviously) made the exit out of the creative crisis it was into for a few years, and (definitely) restored the shine of the “good old” French film. In new clothes, of course. The young film makers succeed to promote their view, through theirs contemporary screenwriting and fresh directing poetics, but not leaving behind the well known French spirit in the process. Here somewhere is Jean Luc Besson, as well (remember “Nikita”, “Le Grand Bleu”…). In this case, he promotes the young director, Pires, but it’s obvious that he didn’t let the situation out of his hands. So, we talk here about the Besson’s film by the Gerard Pires.
    “Taxi” continues with the French tradition of cherishing the human morality. There is no room for the black&white picturing of the characters: the bad guy is the good guy also, and the good guy is the bad guy as well. French filmmakers often worked on the morality norms; and often, they put them into a ironic-humoresque frames, and they did come up with interesting results (characteristic only for the French mentality). So, here we have the following situation: the story about the birth of the unusual friendship between a guy, mad about the wild motoring through the streets of Marseilles, and the young and “clumsy” police inspector. They are simply driven by the situation, on each other. The “mad” taxi-driver breaks the traffic rules on regular bases. The “clumsy” inspector can’t handle in the most ordinary life situations, and he has this imperative, to make a break on the case of the German bank-robber gang who operate in Marseilles. And the France and Germany were on opposite sides in the last World War… Out of

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