classicsoncall This film has a dual plot line in which dirty cops are after the main character because they believe he has a cassette tape incriminating their boss in prostitution and drug trafficking. At the same time, Jules (Frédéric Andréi) has created his own tape of a famous operatic singer who refuses to have her own voice recorded as an affront by those who would profit from it. It's an interesting double bind Jules finds himself in, even though for a good portion of the story he's unaware that the tape he holds of a crooked chief inspector is in his possession; it was secretly dropped into his mail satchel by the mistress of Commissaire Saporta (Jacques Fabbri) while on the run from the thugs he set out after her. For whatever reason, even for all it's intrigue, I couldn't quite connect with this story. It's not hard to follow if one pays attention, and the opera star Cynthia Hawkins (Wilhelmenia Fernandez) has the most beautiful voice, but the characters and situations ultimately didn't engage me in a meaningful way. The eventual confrontation between the corrupt Chief Inspector and Jules ends in the most ignominious way when the cop falls off of an elevated landing in a warehouse when the lights go out. That just seemed so lame to me. No doubt others will find much more intrigue and mystery to the film than this viewer did, so in keeping with a time honored phrase designed to keep you invested in the story until it's conclusion, I would simply state, it's not over until the black lady sings.

thaliossis The french touch of the new wave era.A story built around Catallani's La Wally aria with a Diva who never makes records, some notorious businessmen from Taiwan, a corrupted chief policeman and a postman, all skillfully webbed. Inspired and inspiring, fresh, edgy and stylish nourished my personal myth (i even thought of becoming a postman!) and i must admit it still does.There is an undoubted elegance throughout the film that leaves a gentle savor so sensually purifying.I envy so much the morning walk among the statues in the awakening Paris.NOT TO BE MISSED

runamokprods In the same way 'The Breakfast Club' defined a certain kind of 1980s American filmmaking, and 'Blow Up' defined 1960s hipness, 'Diva' defined a certain kind of 1980s European cinema. That doesn't mean it's great, just seminal. It marked a turning away from deep psychology, philosophy, politics or even plot, and marked an emphasis on style, energy, colors, etc. The movie is about being a cool movie, with cool sets, cool shots, a cool car chase, etc. The plot is just enough to hold it all together. All that said, it is great to look at, the chase is fun, and the film is fun too, in an empty calorie, music video sort of way. It's frustrating. If the acting was a little better (the leads range from pretty good to very awkward) and the story had a little more heart and brains, it could have kept it's grand style, and been a great film, not just an entertaining, great looking film.

Samiam3 Overambition is always risky. Diva is so plot heavy that it almost cracks, but it is delicious and entertaining. As far as genre is concerned, this movie flirts with several, but I think it is safe to label Diva as essentially a neo noir. It is darkly romantic, full of corruption, and photographed in spectacular fashion. The colours are rich and the camera work is exquisite. The movie is almost great but not quite. In an attempt to bring everything together, it has a little climax trouble. A tape of evidence with exposes the Chief inspector of Paris as crooked ends up in the moped satchel of a mail boy named Jules, who suddenly finds himself being hunted down by goons with guns. But that's not his only problem. Jules has made a secret recording of his favourite opera singer live in concert. This singer has blatantly refused to do any recordings, and when word gets out that such a recording exists, different people are going after it. It is ever more essential that Jules keep it hidden, considering, that he and his singer friend have become intimate friends. Even though Diva enjoys piling it up by the pound, it does so in a compelling fashion. It is a good balance of bold and slick. There are a few clichés buried beneath the labyrinth plot that a picky person may be drawn to pick out, but I enjoyed Diva for its sense of non- convention. It puts character before character type, and tension above twist. Cinematography plays an exceptional role in this motion picture, which captures Paris in a far more exuberant way than I am used to seeing (and I've been there). One item about the city which has never appeal to me is that it is very grey, with not enough green. Grey is the last of the colours on Diva's colour pallet (execpt when necessary). This motion picture prefers something a little more romantic or expressive. like a jazzy blue, or a fiery red. I can easily give Diva a pass, and I can recommend it on numerous grounds. As a non-Hollywood thriller, Diva is exceptional, but it is not a film for the soft minded. It gets a bit too convoluted, not too messy, but there is a sense that it could use a slight reworking. This is not a light motion picture, but it ain't a dull one either.