All the world’s a stage, right? And each of us is merely
a player with many roles to perform. Monsieur Oscar has many performances (or
appointments) to give during the course of one day in Leos Carax’s enigmatic
and occasionally frustrating Holy Motors.
Oscar (Denis Lavant) is driven around Paris in the back
of a white limousine. Inside the space he occupies seems impossibly large and
is outfitted with all manner of makeup, wigs, prosthetics, costumes, and props
for Oscar to play, at different points in the day, a beggar woman, a technical
stand-in for an action sci-fi film, a thug, a father, and on and on. His driver
Celine (Edith Scob), who also serves as his assistant, tells him at the start
of the day he has nine of these appointments, but I lost count around five.
Anyway, the number is inconsequential. What matters most
is the presence of a single man in so many different guises, each one almost
like a role in a different film genre. Ay, there’s the rub! There’s romance,
family drama, action, gangster, and musical, making Holy Motors a small compendium of cinematic experience. Surely this
is suggested by the opening which features Carax himself waking up in a room
painted like a forest, unlocking a hidden door with a key growing out of his
finger, and entering a cinema full of rock still audience members. The
dreamlike ambiguity of this sequence is reminiscent of David Lynch.
Actually, the entire movie plays like the best of Lynch
in the sense that there’s no clear overarching explanation for the action, but
it makes sense on its own terms. One of the most beguiling sequences, and one
that could easily be mistaken for a “David Lynch film,” has Oscar playing a
strange-looking man who kidnaps a fashion model (Eva Mendes) from Pére
Lachaise, that most famous of Parisian cemeteries, and whisking her away to an
underground cave. Never betraying the role of a model, Mendes maintains a blank
emotionless expression even as Oscar bites the fingers off the photographer’s
assistant, dresses Mendes up in a burqa and then strips naked before her.
If you view each story as one in a series of vignettes
with the same actor starring, you get a picture of a career. There are hints
toward the end of the film of a life lived prior to this job of daily
appointments. Oscar runs into a woman named Jean (Kylie Minogue) who also rides
in the back of a white limousine made up as someone else. They talk like old
lovers meeting again after many years.
At heart, David Lynch is an experimental filmmaker who
toys with narrative and images. Carax is clearly interested in experimental
elements of filmmaking, but there is a narrative here that is more cohesive
than some of the more difficult of Lynch’s films. I came away feeling like I
needed to see the film a second time to try to connect everything, but I
realized later there are probably no hints of connective tissue, no symbolism
linking one character to another. This is portrait of cinema, or storytelling,
of acting in particular and living more generally.
I don’t know what the grand meaning of Holy Motors is or even if Carax intends
one. I kept expecting to learn that Oscar is a kind of heavenly angel sent, “Quantam
Leap” style, to right certain wrongs in the world. How facile that would have
been. Carax hints at something like that, however, especially with the title
and the nighttime resting place for the limousines. As soon as you start
searching for meaning in this film is the precise moment you become frustrated.
It demands that you give yourself over to the journey that Oscar takes, which incidentally
could be your own.
Holy Motors
frequently shifts gears from dramatic to tragic to strangely comic. There are
times when you find yourself laughing at the sheer incredulity of what’s
transpiring on screen and others when you scratch your head in bewilderment.
All the same, it is a wild experience and never dull if you’re willing to hang
in there. Not everyone will enjoy this film. If you’re the kind of person who
remarks that foreign or indie films are “weird,” then steer clear for this is
not the movie for you. If, on the other hand, you are open to new cinematic
experiences, this could well be one of the best movies you’ve seen all year.
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