(Louis Malle, France, 1960) 89 minutes


Director: Louis Malle
Producer: Irenee Leriche
Screenplay: Loius Malle, Jean-Paul Rappeneau,
  from the novel by Raymond Queneau
Production Design: Bernard Evein
Cinematography: Henri Raichi
Editor: Kenout Peltier
Music: Fiorenzo Carpi, Andre Pontin
Catherine Demongeot (Zazie)
Philippe Noiret (Uncle Gabriel)
Hubert Deschamps (Turandot)
Carla Marlier (Albertine)
Annie Fratellini (Mado)
Vittorio Caprioli (Trouscaillon)
Jacques Dufilho (Ferdinand Grédoux)
Odette Piquet (Zazie's mother)

Reviews and notes

Arguably Louis Malle's best work. Based on Raymond Queneau's farcical novel about a little girl (Catherine Demongeot) left in Paris for a weekend with her decadent uncle (Philippe Noiret), this wild spree goes overboard reproducing Mack Sennett-style slapstick, parodying various films of the 1950s, and playing with editing and color effects (Henri Decae's cinematography is especially impressive), though gradually it becomes a rather disturbing nightmare about fascism. Forget the preposterous claim by a few critics that the movie's editing influenced Alain Resnais, but there's no doubt that Malle affected Richard Lester - and was clearly influenced himself by William Klein, whom he credited on the film as a visual consultant. A rather sharp, albeit soulless, film, packed with ideas and glitter and certainly worth a look.
– Jonathan Rosenbaum, Chicago Reader.

Louis Malle's 1960 French comedy Zazie dans le métro is a children's film dressed up in its grandparents' clothes. This madcap, surreal look at one little girl's day trip to Paris is silly fun, though alternately old fashioned and progressive, adopting well-worn styles of cinematic humor to toy with modern sensibilities. Slapstick and wordplay lend a quirky bend to Zazie's world. Silent films are an influence, as are Looney Tunes, and like the best fairy tales, the wolf here has some particularly nasty teeth.

The film's heroine is Zazie, played by child actor Catherine Demongeot, a sort of Pippi Longstocking by way of Chaplin's The Kid. Zazie is a prankster visiting with her uncle Gabriel (Philippe Noiret) while her mother (Odette Piquet) has a quick fling with her new lover. The gregarious Gabriel is a bit of a loose cannon himself. He tells his niece that he's a night watchman, but he's really sneaking off to a nightclub where he dances in drag. He is not a "homosessual," as the word is regularly mispronounced; on the contrary, he's a ladies man with a particularly gorgeous wife (a particularly gorgeous Carla Marlier). The wife also catches the lecherous eye of Trouscaillon (Vittorio Caprioli), a rapscallion who followed Zazie home after his buying her "blew-jeans" failed to yield the desired results. A surprising joke later in the picture reveals he has been increasing the age of his prey throughout the day, though the older Madame Mwack (Yvonne Clech) jumps his age threshold. His motivation is just one of the many darker, adult jokes peppered in Zazie dans le métro, while the Madame Mwack character is one of the only times Malle's movie proves to be mean-spirited. Unless the joke is that she's not the "old hag" they keep calling her - which she's not - and it's a critique on the shallow prejudices of the other characters.

In fact, there could be a lot of humor in Zazie dans le métro that has been lost across time and culture. The title refers to Zazie's dream of riding the Parisian subways, something she does not get to do in the movie because the train staff is on strike. There is much debate over this method of employment protest, and Malle and his co-screenwriter Jean-Paul Rappeneau (working from a book by Raymond Queneau) are clearly making a comment on current social issues. Excepting the most obvious of meanings, most of this kind of stuff went right over my head.

Thankfully, most of Zazie's adventures don't require any added insight. Unable to ride the rails, Zazie must create other mischief. She sneaks out of the house for some adventure. That's when she meets Trouscaillon. Running away from him is one of the many inspired chase sequences in the film. She leads him through back alleys and shopping districts for a series of gags, which grow increasingly implausible, the brunette Jerry getting away from the aging Tom. Later, Gabriel is hijacked by a tour bus, and Zazie and Mwack must pursue him through clogged traffic. Malle and his editor, Kenout Peltier, favor quick cuts, snipping out middle bits, moving their characters willy nilly through the scenes. They also play with film speed and crank the audio, and something completely nonsensical could be lurking around any corner. The guy in the polar bear suit eventually has his place, but at first, he's just a random bit of fun.

The whole movie is just a collection of random bits of fun, really. Zazie dans le métro is a pure blast of chaos and charm, with a winning young star and a cast of gung-ho supporting players who really get into the spirit of the thing. It plays well to the young at heart, despite some of its more mature undertones. I think a lot of that stuff would go over most kids' heads anyway - or, at the least, they'd do like I did when I was Zazie's age and I'd just pretend I didn't know. Zazie dans le métro is slapstick verité, embracing the oft undervalued tendency for the nouvelle vague not to take itself too seriously. (Indeed, listen for the swipe Malle takes at his compatriots in the new wave in one off-hand joke.) It's no surprise that Zazie is considered a cult movie, as it is a peculiar concoction, playing acquired sensibilities in the broadest manner. If you can keep pace with its precocious star, then there is much joy to be had; if you can't, then maybe you weren't much fun to begin with. Why be so grumpy? Let Zazie cheer you up!
- James S Rich, DVD Talk, 28 June 2011.

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