After stealing compromising documents at a party for the Paris Elite, Fred takes refuge in the Paris Metro. Fred hides out in the Metro after hours, encountering a bizarre array of various characters. There is the bodybuilder who works out using spare subway parts, a roller-skater who uses his skills to snatch purses, as well as a drummer whom helps lead Fred to start a Rock band. Throughout Fred's encounters in the Paris Metro, the police and owner of the documents, a very rich man, chase after him. This leads Fred to develop a relationship with the man's young trophy wife, who has become incredibly bored of her caged lifestyle. Luc Besson's Subway is a bizarre piece of stylish filmmaking that never quite knows what it wants to be or say. The film definitely throws the viewer into the action, wasting no time explaining anything, instead making the viewer figure out what is going on. Subway doesn't fit under any type of genre classification with moments of humor, action and romance that are reminiscent of Besson's more acclaimed work. The opening sequence of Subway, a car chase sequence, perfectly illustrates the immense talent for kinetic visuals and flair which would define Besson's career for years to come. This visual style is clearly the strength of the film, with Besson using great use of lighting, depth of frame, and composition to really make the Subway feel like another world entirely. I can see why Luc Besson's Subways has been called by many an experiment in style and while this is mostly true, the film does scratch the surface on some interesting topics like freedom from the establishment andmoney vs. happiness, but it never goes quite far enough in dissecting these ideas.
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