Double Feature: Stalker & From Paris With Love

STALKER

At first glance, the two films I picked for my latest double feature have very little in common:  STALKER (1979), an artsy sci-fi allegory from the mind of revered Russian director Andrei Tarkovsky;  and FROM PARIS WITH LOVE (2010), a semi-mindless, politically backwards shoot-'em-up from French director Pierre Morel (Taken, District 13).  But, with a little digging, one can find little parallels.  Loud, brash, and destructive tourists, with little interest in, or understanding of, the place that they're visiting.  A constant threat of physical (and, quite possibly, spiritual) death.  A guide who distrusts his traveling companion(s).

Stalker, based on the novel "Roadside Picnic", is about a man whose profession is the title;  He is a guide, paid to bring adventurous travelers safely through a mysterious land known only as "The Zone".  No one knows exactly where it came from - some say an asteroid created it, others say that it simply appeared - but everyone agrees that the normal laws of physics don't apply there.  And somewhere in the center of The Zone lies The Room;  a place where a man's innermost wish will be granted.  Along for the journey on this trip are two characters known only as The Writer and The Professor.

Despite the vaguely sci-fi trappings, set aside all expectations of lazergun fights and giant robots;  the story revolves mostly around these three characters and their philosophical musings.  The Stalker, the Writer and the Professor each represent, respectively, the influence of Faith, Art, and Science in shaping our worldview.  The Zone remains mysterious;  most of its power is symbolized by the film switching to color, in contrast to the "real world"'s brown monocrome.  It's a nice, Oz-like touch.

It seems to touch upon many themes, but what I took out of the film was an analysis of how one can make a system out of chaos.  Or, if the universe itself is inherently chaotic, is any system a form of self-delusion?  The narrative as medium of philosophical musing reminded me quite a bit of the films of Ingmar Bergman, of whom Tarkovsky was a huge fan.  Takovsky was one of the few directors asking the big questions, and much like Bergman, not being afraid to admit to not having the answers.

FROM PARIS WITH LOVE

I followed this up with From Paris With Love, a film that was recommended to me as a "so bad, it's great" type pic.  To some degree, I understand that sentiment, though I might change "bad" to "stupid".  It's ridiculous in every imaginable way, but it does accomplish what it set out to do - entertain the masses through cathartic violence perpetrated by, as Tracy Jordan would refer to them, "metal penises".

Director Morel does nothing to dispel his reputation as a bigot, going out of his way to mock every downtrodden minority possible through the mouthpiece of Uber-Angry American Charlie Wax (John Travolta), a secret agent in Paris on a mission to do. . .  something.  Things are blown up, and people are kicked.  Jonathan Rhys Meyers provides backup, and a half-hearted stab at pathos, as Wax's straightman partner.  In the spirit of fairness, Morel makes sure to add some mockery of his home country into his Un-Politically Correct tirades.

Say what you will about From Paris (Ok!  The script makes no sense, the characters are paper thin, and the acting is universally atrocious), but it's got it where it counts, kid.  Travolta's performance is pitch-perfect for the proceedings, and no scenery is left unconsumed.  As in Taken, the violence is well designed to shock, numb, and then shock again, and never gets boring.  Not only do the bads die, but they die, um, hard.  And the wooden performances, silly dialogue, and complete lack of taste (in addition to a truly "classic" ending) actually blend quite well with several moments of adept direction.  I, for one, would see a sequel in the theater, if they brought the same team back.

FREDERICK OPINES:

STALKER - GREAT

FROM PARIS WITH LOVE - GOOD