Lee reviews the updated version of The Lady In The Car With Glasses And A Gun.
The Lady In The Car is a gorgeous film. It has a classic style, pieced together by director Joann Sfar’s specific approach at remaking the 1970 film of the same name. Beautiful cinematography, captivating shots, and unique angles and perspectives all paint a stunning visual experience. The story is strong the first half, an intriguing mystery that keeps the audience guessing, but it starts to pulls away at the end. The resolve is a bit disappointing, and isn’t as satisfying as it should be. It’s a slight let down considering the build up. While the ending doesn't have the dominate execution the film deserves, it doesn’t take away all that is good with this movie, and Sfar still manages to retain his consistent artistic approach throughout the film.
|Damn! This ginger knows how to drive!|
The Lady In The Car stays true to the original film, which is good and bad in its own right. It’s great to honor and pay homage to the original, but sometimes following a cookie cutter format is too restrictive when reimagining a previously adapted story. It’s a captivating film that deserves some modern progression. While it is a present day retelling, it’s refreshing to see some classic elements incorporated, and better yet, modern elements withheld in the film. Most notable was the lack of cell phones. While the original is an English speaking film produced by Columbia Pictures, Sfar’s updated version is French with English subtitles, giving the story back to its authentic roots, considering both adaptations are based on the novel (1966) of the same name by French mystery writer Sébastien Japrisot. Overall, Mavor is the most impressive. As the lead who dominates the film, she gives an impressive performance. While few compare to Hitchcock’s muse Grace Kelly, Mavor’s classic beauty and performance is easily the most admirable aspect of this praise filled film.
Lee L. Lind