Red-Barracuda Luc Besson was one of the leading directors of the French cinema movement which was to go on to be referred to as cinéma du look. These films tended to favour style over substance and were a direct response to the 'quality' cinema of France at that time, which tended to focus on realism and avoided 'vulgar' cinematic spectacle. With Subway, Besson delivered what can only be described as a textbook example of what cinéma du look was all about. Like several of its peers it has a somewhat weak story but its slick presentation and consistent quirkiness meant that the ropey narrative was relegated to the margins. Events focus on a thief called Fred who steals important documents from a member of the Paris elite while attending a birthday party for a bored socialite called Héléna, the wife of the high flyer. After being pursued by henchmen, he winds up hiding in the hidden depths of the Paris Métro where he encounters a secret community of social outcasts who live there. In the meantime, police and gangsters seek Fred, while he embarks on a dangerous love affair with Héléna.The story is wilfully absurd and is pretty far from realistic. So what we have is an unashamedly cinematic piece of work. The idea of an underground culture compromising of disenfranchised youths living on the fringes of society is a common one for these types of movies. Like others in its sub-category Subway also has a strong focus on imagery, with characterisation very stylised also. Consequently, this isn't really a film for showcasing acting, with Christopher Lambert certainly looking the part at least and Isabelle Adjani doing as much as she can with the material. There is an English dubbed version out there, which is quite commonly available. It really is to be avoided though as the dubbing is quite poor and really affects the performances even further – seek out the original French language version for sure. But ultimately, Subway is a film that never relies on its paper-thin characters and ropey story-line; its appeal is in its stylisation and quirks. The camera-work is often very good and some of the action-oriented sequences such as the opening car chase and the various pursuits through the Métro are handled very well indeed and are an early indicator that Besson was a great director of stylised action, which he perfected later in the likes of Nikita (1990) and Léon (1994). The other notable feature of Subway is its eccentric quirkiness, which is typified by more or less all the characters to some degree, from the roller-skating thief, to the body-builder who works out with subway parts and the inept cops called Batman and Robin. And that is not to mention the whole plot strand about the rock band formed from Subway musicians, which takes quirkiness to new levels. Also, I reckon Subway has to be one of the most 80's films of all time, from the haircuts, to the fashions and the music – this is a film that screams out 80's at every turn. Despite its deficiencies in story and characters, this one gets by on its over-the-top style. It's so bold in its execution and so unashamedly daft, that it's a film that is quite difficult to dislike. The best way to approach this one would be to not think too much and just accept its strange logic; if you can manage that, there's fun to be had here.

LCShackley If you want an early-80s French film that looks good and has a perceptible plot, try DIVA instead of this eye-popping failure.I agree that Besson has a wonderful visual sense, and he obviously loves the Metro (as I do too, having visited Paris not long after this film was made). But all the cool costumes, chases, and quirky characters can't make up for the absence of a decent story. (Jeunet figured this out and made MICMACS, a much better film about quirky characters who live at the fringe of society.) There's a wonderful car chase at the opening and then it's literally downhill from there. Blackmail, a holdup, a bizarre rock band in an underground music store (featuring composer Eric Serra on bass), a dysfunctional marriage...they're all mixed together, topped off with an awful ending.Serra's score is a great example of 1980s synth/jazz, unfortunately spoiled here and there by completely idiotic lyrics. Fans of Besson, lovers of subways, or folks needing an 80s overdose might enjoy this film. And whatever you do, avoid the dubbed version, which unfortunately was all that was available from my streaming video source.

FilmCriticLalitRao If there is a director in the realm of French cinema who can challenge American films in terms of content,narration,presentation,style etc,it is Monsieur Luc Besson.His cinematographic vision is so grand that even ordinary spectators from USA hold his films in high esteem.Most of his films like Subway,Leon,The Big Blue,The Fifth Element have fared well at American box office.Subway is a film that will always be remembered for its inventiveness.There are no so many directors who can film an impossible love story in Parisian metro,which is considered to be one of the most busiest areas in Paris.It is hard to tell who is the real star of this film ? Is it Subway's central character Fred the burglar (Christopher Lambert) who is in love with bourgeois Héléna (Isabelle Adjani) or Parisian metro which is home to many oddball characters ? Subway is a successful film which tries to remain close to reality.In Subway's Parisian metro there might not be so many oddball characters who have made it their home but gullible travelers are always taken for a ride when their bags and belongings are snatched by thieves.Those who have seen this film and have enjoyed innumerable rides in Parisian metro will not hesitate to state that in 2008,it is as fresh,imaginative and real as it was when filmed in 1985.

rainfall When I first saw this movie I was magnetized by its unique atmosphere. Luc Besson created amazing out-of-genre movie. "Subway" inherits traditions of european films of the 70-ies and has something new and magnetic at the same time; and it is certainly Besson's most european film. Maybe it is the reason of it's not so high ratings by american critique. Strange, but Lambert's early and best roles in "Subway" and Marco Ferreri's "I love you" are crossed out by his later films. Talking about "Subway", this movie stands in a row of other films of the middle and the end of the 80-ies that were last before the sunset of european cinematograph and the wind of pan-american influence. And although many american movies are real masterpieces, two traditions can't be mixed. This is one of those cult films that create amazing style that can't be repeated. And although I find "Leon", "Nikita" and "5th element" really good movies, they all were commercial projects. And "Subway"... well, who saw it, they will understand. And maybe not. 10 out of 10.