Cast: Jean Rochefort, Johnny Hallyday
Director: Patrice Leconte
Producer: Philippe Carcassonne
Screenplay: Claude Klotz
Cinematography: Jean-Marie Dreujou
Music: Pascal Esteve
U.S. Distributor: Paramount Classics
In French with subtitles
Stripped to its essence, The Man on the Train is a mismatched buddy film – the kind of movie in which two seemingly incompatible individuals develop a deep-but-unlikely bond. Because the movie is French, the relationship is more subtle and less artificial than what we are presented with in the average Hollywood genre entry. And because the director is Patrice Leconte, the veteran filmmaker behind such movies as The Hairdresser's Husband, Ridicule, The Girl on the Bridge, and The Widow of St. Pierre, there's a current of sardonic wit running through the proceedings.
The two main characters are easily recognizable types. Manesquier (Jean Rochefort) is an elderly gentleman whose life is comprised of a series of comfortable routines. He lives in a large, crumbling house that looks like a Victorian pack-rat's haven. A retired teacher, Manesquier keeps in touch with his roots by bringing in an occasional student to tutor. Everything in his life is well-ordered, and one gets the sense that perhaps no one will miss him if he were to suddenly vanish. The other protagonist is the title character, Milan (Johnny Hallyday), a late middle-aged thief who has come to Manesquier's small town to reunite with some old business acquaintances and rob the local bank. Milan is a gruff loner, a drifter with no home.
The two meet one night in a drug store, and, when Milan finds the village's lone hotel to be closed, he imposes upon Manesquier for a room. The older man is only too happy for the company – the only payment he requires from his visitor is that Milan listen to his nearly non-stop prattle. Milan isn't much of a talker, so their early conversations consist of Manesquier speaking and Milan listening. After a while, however, Milan opens up, and the two develop a bond of genuine friendship. Both of them are aware that their days together are numbered. On Saturday morning, at approximately the same time, Milan will rob the bank and leave town, and Manesquier will enter the hospital for a triple bypass.
The relationship between Manesquier and Milan is simple and straightforward, without a hint of homoerotic tension to cloud matters. These two men enjoy each other's company, appreciate talking about everything from the mundane to the all-important while they smoke or stare at the stars, and find inspiration in being together. Manesquier recites poetry and imparts bits of esoteric knowledge to Milan, while the latter teaches (or tries to teach) the former how to shoot a gun. Neither judges the other. Manesquier knows why Milan is here, and, rather than dissuading him, he merely regrets that he is not healthy enough to provide assistance.
As is almost always true of character-based pieces, a key to the film's success is the acting. Both of the leads are superb. Internationally, Jean Rochefort is the better known of the pair. At age 73, his filmography lists more than 100 credits, including Leconte's Ridicule and The Hairdresser's Husband (amongst others). French rock star Johnny Hallyday has less film experience, but Rocherfort never eclipses him. These two inhabit their characters and act the parts with simple, honest conviction. Sitting in the audience, we can sense the intangible that draws Manesquier and Milan together, even if they can't vocalize it.
Leconte develops the film by allowing the tone to straddle the line between comedy and drama. Despite its thriller-like title, The Man on the Train is a character study that, even in its darkest moments, never takes things too seriously. We come to like these two men and look forward to their interaction with a quiet anticipation. The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.
© 2003 James Berardinelli