JCVD (Peace Arch)
In the opening scene of JCVD, Jean-Claude Van Damme takes out one heavily-armed, vaguely military bad guy after another with his bare hands (and whatever blunt instruments and discarded weapons he grabs along the way) in an elaborately choreographed long take. He comes out the other end huffing and winded as the set falls down around and ruins the take. “It’s hard for me to do it all in one take,” he begs the arrogant, snotty young director. “I’m 47 years old.” And we can see the toll that age, exertion and high-living have taken.
JCVD is an action film where the flamboyant heroics occur only in fantasy. Van Damme’s most daring stunt is a monologue dropped into the middle of the movie, a self-pitying apologia, where he spins his story of a simple Belgian martial arts champ seduced by Hollywood, the naive innocent destroyed by the liars and corrupted by the sudden fame and decadence. It plays like Van Damme’s version of Bela Lugosi’s “Home? I have no home!” speech in Ed Wood’s Bride of the Beast, with Van Damme showing his thespian skills by letting a single tear roll down his cheek up as he rakes over the coals of his screwed-up life. His dramatic muscles are awfully creaky and it’s hard to tell if it’s achingly pretentious, deadpan self-parody or merely Van Damme’s idea of screen test.
But that ambiguity makes the scene so much more interesting and Van Damme is surprisingly engaging as a version of himself who is more vulnerable human being action hero as he tries to survive an armed gang of unraveling personalities. In the real world, he’s more apt to talk than take on a trio of thugs with guns. It’s his first feature in French, his native language. And he manages to maintain self-effacing dignity in the face of director/co-writer Mabrouk El Mechri’s take on his troubled private life. It’s an impressive stunt that pays off in an action film for art movie aficionados and a foreign film for the popcorn crowd. As long as they don’t mind reading subtitles.
Deadly Sweet (Cult Epics)
Shot in England by an Italian director with a French leading man and a Swedish sex-doll leading lady (both dubbed into Italian), Deadly Sweet is advertised as a giallo (an Italian horror with cruel and flamboyant murders) but is really a vague murder mystery romp directed as a pop-art object. Jean-Louis Trintignant stars as an out-of-work actor who spots sex-kitten Ewa Aulin at a disco and rushes her out of a murder scene where she’s the prime suspect. As they flee down the steps of the fire escape, the screen shifts into grainy black and white and fragments into split screens and repeated images while the percussion of the metallic march fills the soundtrack. That’s just a taste of the stylistic playroom to come. Tinto Brass went on to a career in soft-core erotic movies (most notably the grotesque Caligula), but here he’s embracing the creative energy and anything-goes culture of sixties cinema and tossing every impulse into the film.