Opening Day: 26 January 2006

Synopsis:

Francois has fallen madly in love with a sublime woman. Then he discovers that she is manipulating him, pretending that he is her husband, Anthony Zimmer, a man on the run from hitmen and the authorities. Even though Francois knows that Chiara has lied to him, that she is familiar with the people hunting them, he would give everything he owns - maybe even his life - to know the joy of holding her in his arms once more.

Movie Review:


There seems to be an entity that global audiences are enthralled with: elusiveness. From “Fahrenheit 9/11” (2004) where the existence of weapons of mass destruction (WMD) is questioned to “The Bourne Identity” (2002) where the audience gets to peel the mysterious layers off Jason Bourne’s identity as he recovers from a bout of amnesia, it’s beyond question that elusiveness do sell. It’s not a surprise that “Memento” (a story of a man suffering from amnesia told in reverse chronological order) and “Seven” (a tale of a serial killer who kills according to the seven deadly sins) are among the movie chart-toppers.

“Anthony Zimmer” is no different. From the opening shots of the secretive female protagonist’s legs in stiletto heels to the resolution made by a veteran cop to nap the ever-elusive, money laundering creep by the name of Anthony Zimmer, director Jérôme Salle sets the groundwork for a good “cat and mouse” narrative. With a strong opening, this film progresses along the lines of “The Fugitive” (1993), with the only disparity being that “Anthony Zimmer” rates high on suspense and relatively low in action, with a moderate amount of awkward, clumsy movements and interesting banter thrown in for good measure. With the involvement of a femme fatale, “Anthony Zimmer” also bears a close resemblance to “Avenging Angelo” (2002) and Luc Besson’s “Nikita” (1990).

While the main story revolves around a persistent cop on the trail of a con man (who has undergone an intensive plastic surgery to the point of being unrecognizable), there exists a sub-plot that explores the blossoming of a romantic relationship between a femme fatale Chiara Manzoni (sensuously played by Sophie Marceau) and the male protagonist Francois Taillandier (Yvan Attal), a man who is inadvertently caught between a rock and a hard place. Their chance encounter in a train compartment and the subsequent interactions that spark off a romantic relationship is one of the prominent scenes in the movie. Subtle and yet memorable, it sets the foundation on which the rest of this film lies.

More popular known as a Bond girl in “The World is not Enough” (1999) starring opposite Pierce Brosnan, Sophie Marceau is an excellent actress in her own right. However, she is better known in her native country as she has more contributions to French cinema than Hollywood. Nevertheless, her acting finesse is remarkable here as a mysterious and seductive lady whose motive is never made clear till towards the end of the film. Despite the fact that 6 years has lapsed after “The World is not Enough”, she has aged with grace, alongside the likes of Meryl Streep, Susan Sarandon and Michelle Pfeiffer. Her grace and poise can still be seen here, and it fits her role perfectly.

Yvan Attal, another French actor who plays the male protagonist in the movie, may be a strange face to the local audience. Despite the unfamiliarity, it will be hard to dismiss him as a “flash in the pan” actor. From the innocence and naivete appearance right down to his clumsy gesticulations, Yvan does come across convincingly as a guy with worldly ignorance. Caught in a crossfire between the good, the bad and the mysterious, it’s an enjoyment and a relishing delight to just watch his responses and reactions to the events happening around him. It is little wonder that Yvan has been offered to play a part in “The Interpreter” (2005) and has an upcoming role in “Munich” (2005).

However, “Anthony Zimmer” didn’t come across as a very remarkable film. For starters, the subplot of a romantic relationship between the two leads almost envelopes the entire film to the point of swallowing the main plotline (of a cop chasing con man) whole. Towards the end, it’s understandable for the audience to savour the developing relationship of the two leads and not give a hoot to who Anthony Zimmer is, which defeats the purpose of the film. The absence of strategically-placed soundtracks (as can be seen in Olivier Marchal’s “36 Quai des Orfèvres” (2004)), a predictable ending and relatively slow film pacing greatly impedes “Anthony Zimmer” from being an excellent film that it aspires to be.

The film is not without its merit though. There are moments to indulge in. A carefully-orchestrated car chase scene in a secluded car park is enough to send one’s pulse racing. The leads also put in a convincing performance with sensuous sequence of coupling in an exotic land. Set in a fixed locale and adopting a linear structure for the entire duration, the film is easy on the eye and the plot is easy to follow.

If you are in the mood for some romance, action and suspense, this film might just be it.

Movie Rating:

(“Anthony Zimmer” is a slow walk down a dark, seedy alley for a secret rendezvous, with hungry Rottweilers hounding your back.)

Review by Patrick Tay