Luc Besson was one of the leading directors of the French cinema movement which was to go on to be referred to as cinéma du look. These films tended to favour style over substance and were a direct response to the 'quality' cinema of France at that time, which tended to focus on realism and avoided 'vulgar' cinematic spectacle. With Subway, Besson delivered what can only be described as a textbook example of what cinéma du look was all about. Like several of its peers it has a somewhat weak story but its slick presentation and consistent quirkiness meant that the ropey narrative was relegated to the margins. Events focus on a thief called Fred who steals important documents from a member of the Paris elite while attending a birthday party for a bored socialite called Héléna, the wife of the high flyer. After being pursued by henchmen, he winds up hiding in the hidden depths of the Paris Métro where he encounters a secret community of social outcasts who live there. In the meantime, police and gangsters seek Fred, while he embarks on a dangerous love affair with Héléna.The story is wilfully absurd and is pretty far from realistic. So what we have is an unashamedly cinematic piece of work. The idea of an underground culture compromising of disenfranchised youths living on the fringes of society is a common one for these types of movies. Like others in its sub-category Subway also has a strong focus on imagery, with characterisation very stylised also. Consequently, this isn't really a film for showcasing acting, with Christopher Lambert certainly looking the part at least and Isabelle Adjani doing as much as she can with the material. There is an English dubbed version out there, which is quite commonly available. It really is to be avoided though as the dubbing is quite poor and really affects the performances even further – seek out the original French language version for sure. But ultimately, Subway is a film that never relies on its paper-thin characters and ropey story-line; its appeal is in its stylisation and quirks. The camera-work is often very good and some of the action-oriented sequences such as the opening car chase and the various pursuits through the Métro are handled very well indeed and are an early indicator that Besson was a great director of stylised action, which he perfected later in the likes of Nikita (1990) and Léon (1994). The other notable feature of Subway is its eccentric quirkiness, which is typified by more or less all the characters to some degree, from the roller-skating thief, to the body-builder who works out with subway parts and the inept cops called Batman and Robin. And that is not to mention the whole plot strand about the rock band formed from Subway musicians, which takes quirkiness to new levels. Also, I reckon Subway has to be one of the most 80's films of all time, from the haircuts, to the fashions and the music – this is a film that screams out 80's at every turn. Despite its deficiencies in story and characters, this one gets by on its over-the-top style. It's so bold in its execution and so unashamedly daft, that it's a film that is quite difficult to dislike. The best way to approach this one would be to not think too much and just accept its strange logic; if you can manage that, there's fun to be had here.

The subway is perhaps the most bizarre place for a love story. Metro station - a place where there is usually tired from the bustle of this world and it is here that turned a beautiful love story. Thus, the film is doubly interesting. She is wife of the wealthy, he is - a thief who steals her husband's important papers, but not to cash in on them, but only for the next meeting, for any reason for it. To hide from the people of her influential husband, he goes to the Paris subway, where they live bright unusual characters. The silent drummer, always knocking on what gets into the performance of Jean Reno. Man on roller skates, who lives on theft in the performance of Jean South Anglade. The black cool guy of the impressive sizes. Police captain played by Richard Borinzhe. At what his character is really funny. He was making fun of his two subordinates, who are complete dupes, manage to miss the "man on roller skates" literally at your nose. Finally he joined Fred to them to create a musical group. The film turned out very bright thanks to directing and music by Eric Serra. He wrote the excellent tracks in this picture. He also wrote music for the film "GoldenEye" James Bond. Lambert played the role of eccentric romance with the ultra cool hairdo like his girlfriend in the film Adjani. Besson took a picture of undying love in an unusual entourage. Perhaps one of the most stylish romantic drama 80.

This is a pure exercise in style from the Luc Besson school of film making. A handsome gangster joins ranks with a school of dropouts who populate the Parisian subway system, hounded (but never phazed) by transportation police. The trouble is that head honcho Fred has fallen in love with the pretty but stroppy wife of one of his BCBG victims, and strife ensues below the streets of gay Paree.Christopher Lambert is amazing as the stylish rebel gangster with a heart, Fred; Isabelle Adjani is pretty but, as always, deeply annoying -- she just exudes arrogance from the bottom of her dainty little heart. On the sidelines we see an impossibly young Jean-Hugues Anglade, Jean Reno and Jean-Pierre Bacri. I actually didn't recognise Reno, that's how young and unknown he is here.If you have a deeper interest in cinema, this is a straight ten. It's amazing how Besson brings together great style, action, fun, pace, acting, dialogue and amazing characters. Unlike most directors who film in the province and try to make it look like Paris, Besson films in Paris but makes it look like Metropolis.Unfortunately, there isn't much of a plot and zilch suspense. The film starts with a heated heart-to-heart between Fred and pretty Héléna, and since we are aware that their affair can't end but unhappily (albeit in an incredibly chic way), the suspense is exactly zero. So if you just want entertainment, you should better pick one of Besson's later movies.

Highlander may have marked Christopher Lambert as a cult hero but Subway is by far his best role yet. I've been a fan of Lambert and I've seen the recent movies he's in and they are pale by comparison to Subway. Director Luc Besson (La Femme Nikita, The Professional, The Fifth Element) originally wanted Sting for the role of Fred but couldn't do so Lambert got it...and luckily so. The film is set inside a Parisian subway train station where dwellers (including Lambert's character) conduct their own activities and it involves a woman, Helena, played by Isabelle Adjani, who is classy and mysteriously hires Fred to steal her personal files. The plot is confusing and at times pointless but nevertheless Lambert's goofy, eccentric, and spontaneous character keeps the viewer amused. I mean it's almost to a point where we believe Lambert is living the character and not acting it out. I consider this movie Euro-trash but I enjoyed Christopher Lambert as Fred, a guy who kept you on your toes and brought out the rebellious, capricious person inside you.