Jean-Jacques Beineix's debut film is a stylish, hilarious, and audacious thriller that had many critics comparing Beineix's innovative technique to that of Orson Welles at the time of the film's release. DIVA stars Frederic Andrei as Jules, a young Parisian messenger who is obsessed with a beautiful American opera singer who .. Read more
| Starring | Richard Bohringer, Dominique Pinon, Wilhelmenia Fernandez |
|---|---|
| Director | Jean-Jacques Beineix |
| Genres | Drama |
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Considered one of the masterpieces of cinéma du look (the name given to French films of the 1980s in which style took precedence over content), Diva marked the directorial debut of Jean-Jacques Beineix. It's a dazzling job, brimful with bravura camera movements and ultra-chic images. The tale of two tapes (one a bootlegged recording of an opera star, the other incriminating evidence against a police inspector) rather gets lost as Beineix experiments with styles ranging from the Feuillade serials of the early years of the last century to the New Wave of the 1950s and 1960s. Yet this remains compelling viewing, if only for the amazing performance of Dominique Pinon (Delicatessen).
Marvellous amalgam of sadistic thriller and fairytale romance, drawing on a wild diversity of genres from film noir to... read more on Time Out
Saw this at the cinema when it first came out and thought it was wonderful. Twenty something years later and a lot of the gloss has worn off. I guess we were all dazzled by the then ultra cool attitude and stylish visual pop-culture flourishes. It has all been done so many times since then, with so much more panache, flair and technical excellence, that what was once beguiling now seems rather pedestrian. There are still some delightful moments of wit (the onion chopping scene, the Gitane-Bleu pad, the goon who doesn't like anything, Ayatollah the cat), Wilhemenia Fernandez's opera singer is wonderful and that voice is out of this world. But the pace is often plodding, the editing somewhat clunky, the colour is garish, the characters seem desperately pretentious rather than effortlessly cool, the 'stupid' french cops are about as funny as Cannon and Ball and what was once chic tongue in cheek irony now comes across as a lack of realism which takes all the tension out of what was meant to be a slick little thriller. One for the film studies course rather than an entertaining evening.
Here is a film with a delightfully spurious plot that allows us to wallow in glorious sets that are decaying, the agents in the film are all free and step beyond the normal behaviours and ethics, to exist in a passionate and obsessive way that is remarkably well acted and a pleasure to witness.
Other luxuries include: Wilhelmina Wiggins Fernandez, a real-life opera singer in her only film role, playing a wonderful Cynthia Hawkins, an outstanding motorcycle sequence through the heart of Paris and the resolution of the film which is something special.
A great part of this film, renowned as cool and essential viewing in the 80s, is the directors ability to engage his audience in his remarkably joyous visual depth. A film thats hard to be unaffected by.
My only gripe is the subtitling is a little hard to read at times.
This debut feature by Jean-Jacques Beineix is an intelligent thriller that combines the story of an illegal recording of a opera performance with a tale of police corruption and organised crime. Set against an ultrastylish pop-art world inspired by Andy Warhol it manages to combine both stories in a clever way leading to some unexpected twists and turns.
This is one of those rare films where everything seems to fit - story, acting, music, suspense, action, scenery and a more than simple love story make this an unforgettable film.
So what happened to Jean-Jacques Beineix after Diva? Well, he made 'Betty Blue', another French classic...
The converging plotline device only holds water due to the amazing soundtrack - you'll believe people will kill for a copy - and the art director style blue visuals and stunning cinematography. This is a must see (and hear) film for any true film buff!!
An excellent movie from the eighties, it was even better to watch on the big screen but nevertheless none of that magic had been lost.
A brilliantly paced movie has one glued to the end, very riveting.
Saw this at the cinema when it first came out and thought it was wonderful. Twenty something years later and a lot of the gloss has worn off. I guess we were all dazzled by the then ultra cool attitude and stylish visual pop-culture flourishes. It has all been done so many times since then, with so much more panache, flair and technical excellence, that what was once beguiling now seems rather pedestrian. There are still some delightful moments of wit (the onion chopping scene, the Gitane-Bleu pad, the goon who doesn't like anything, Ayatollah the cat), Wilhemenia Fernandez's opera singer is wonderful and that voice is out of this world. But the pace is often plodding, the editing somewhat clunky, the colour is garish, the characters seem desperately pretentious rather than effortlessly cool, the 'stupid' french cops are about as funny as Cannon and Ball and what was once chic tongue in cheek irony now comes across as a lack of realism which takes all the tension out of what was meant to be a slick little thriller. One for the film studies course rather than an entertaining evening.
Here is a film with a delightfully spurious plot that allows us to wallow in glorious sets that are decaying, the agents in the film are all free and step beyond the normal behaviours and ethics, to exist in a passionate and obsessive way that is remarkably well acted and a pleasure to witness.
Other luxuries include: Wilhelmina Wiggins Fernandez, a real-life opera singer in her only film role, playing a wonderful Cynthia Hawkins, an outstanding motorcycle sequence through the heart of Paris and the resolution of the film which is something special.
A great part of this film, renowned as cool and essential viewing in the 80s, is the directors ability to engage his audience in his remarkably joyous visual depth. A film thats hard to be unaffected by.
My only gripe is the subtitling is a little hard to read at times.
This debut feature by Jean-Jacques Beineix is an intelligent thriller that combines the story of an illegal recording of a opera performance with a tale of police corruption and organised crime. Set against an ultrastylish pop-art world inspired by Andy Warhol it manages to combine both stories in a clever way leading to some unexpected twists and turns.
This is one of those rare films where everything seems to fit - story, acting, music, suspense, action, scenery and a more than simple love story make this an unforgettable film.
So what happened to Jean-Jacques Beineix after Diva? Well, he made 'Betty Blue', another French classic...
Occaisionally over-the-top in terms of it's styling, this tale of a motorcycle postman and an opera diva is never less than compelling. The debut from director Jean-Jaques Beineix is a benchmark for others to follow, and the subway train chase has all the hallmarks of a classic of its kind.
The converging plotline device only holds water due to the amazing soundtrack - you'll believe people will kill for a copy - and the art director style blue visuals and stunning cinematography. This is a must see (and hear) film for any true film buff!!
Stylish 80s caper/drama with great music, interesting plot lines. Definitely not your run of the mill so if that's what youre looking for don't bother. Moped driving mailman stalker with jigsaw puzzle obsessed friend get very cool treatment (i.e. it's a French movie).
Even after twenty years DIVA loses none of its impact. As a thriller, it always maintains plot momentum and as a visual spectacle it employs well constructed images which enhance the overall effect. Look at the warehouse flat - all the decor colours are drawn from the Gitane cigarette packet - true style, very French.
Along with the great music and quality acting, this is a true classic of French Cinema.
Bad editing, bad acting, painfully self-consciously quirky and 'cool' n... ultimately a bad movie that spectacularly fails to stand the test of time and retains interest solely as a museum piece for film students. If you are desperate for a double dose of classical music with Parisian street thuggery, do yourself a favour and rent 'The Beat that My Heart Skipped' instead.
Distinctive and intriguing film that deftly combines two plots, one a conventional 'who is Mr Big?' type thriller and the other an opera enthusiast who illicitly records his favourite opera star and who is pursued for the tape as she has never made a studio recording. Lovely music, cool characters (a world-weary good guy who wears a snorkel when peeling onions), interesting interior locations - a bit slow but overall a treat.
An excellent movie from the eighties, it was even better to watch on the big screen but nevertheless none of that magic had been lost.
A brilliantly paced movie has one glued to the end, very riveting.
Considered one of the masterpieces of cinéma du look (the name given to French films of the 1980s in which style took precedence over content), Diva marked the directorial debut of Jean-Jacques Beineix. It's a dazzling job, brimful with bravura camera movements and ultra-chic images. The tale of two tapes (one a bootlegged recording of an opera star, the other incriminating evidence against a police inspector) rather gets lost as Beineix experiments with styles ranging from the Feuillade serials of the early years of the last century to the New Wave of the 1950s and 1960s. Yet this remains compelling viewing, if only for the amazing performance of Dominique Pinon (Delicatessen).
Marvellous amalgam of sadistic thriller and fairytale romance, drawing on a wild diversity of genres from film noir to... read more on Time Out