Four weddings, no funerals.

 Shuddh Desi Romance (2013) is part of the post Dil Chahta Hai wave of movies that try to depict the experience of modern young people living in India's cities.  It came out twelve years after Dil Chahta Hai, though, so it's much more willing to challenge the tropes of frothy Bollywood romance, largely by stripping out the froth.

 

Raghu (Sushant Singh Rajput) is a professional wedding guest; when the bride or groom don't have enough friends or relatives handy to fill out the guest list but they still want to make a good impression, wedding planner Goyal (Rishi Kapoor)  will provide ersatz friends and relatives at reasonable rates.  Now Raghu is getting married himself, an arranged marriage to Tara (Vaani Kapoor), and Goyal has provided guests for him as well, including the beautiful and intelligent Gayatri (Parineeti Chopra.)

That's a problem, because Raghu is immediately smitten with Gayatri.  They have a long conversation on the night bus to the wedding, even kiss a little, and while Gayatri puts a stop to things, Raghu starts reconsidering his wedding plans, and winds up running away before the ceremony.

Back in Jaipur, Raghu meets Gayatri again, and they start talking.  Raghu is very clear that he is not interested in any sort of "love is friendship" business; he's attracted to her, and he wants a relationship.  Gayatri ios a lot more cynical; this isn't her first rodeo, and her heart has been trampled before, so she's determined that all future rodeo-related activity will be on her terms.  Still, she feels an attraction too, and before long Raghu has moved in.

It's not always easy; this is still India, and Raghu has to pretend to be Gayatri's brother or the neighbors will talk.  (The neighbors are not actually fooled, but it's important to make the effort.)  There are some fights, because Raghu is a starry-eyed romantic who jumps into everything without thinking, while Gayatri is sure that he's going to leave her, because he's done it before.  Still, they decide to get married, and at the ceremony Gayatri runs before he has the chance.

Time passes.  Raghu is still sad, and doesn't want to attend any more weddings, ever, but Goyal pulls him back for one last job.  And that's where he runs into Tara again.  She's one of the actual wedding guests, and she's surprisingly chill about the whole "being left at the altar" thing.  Before long they're dating, and Goyal is wondering what these women see in Raghu.  

And of course Gayatri is bound to show up sooner or later, because this is almost an Archie triangle; Tara is Betty, Gayatri is Veronica, everybody is a decent person, and they all want the best for each other, but while Tara and Gayatri get along, they barely know each other.  

However, Shuddh Desi Romance isn't really trying to be Kuch Kuch Hota Hai or any of the other classic Bollywood love triangles.  This movie is almost self-consciously modern, with characters sitting down to address the camera, The Office-style, endlessly analyzing their feelings rather than silently longing for each other, and concluding that maybe conventional marriage isn't for everyone.  One of the key features of Bollywood romance is that once the characters have fallen in love they are determined; they might choose to sacrifice that love, but they never stop believing in it.  They know what they want.  In Shuddh Desi Romance, nobody knows what they want, and they spend the whole movie trying to figure it out.

So, not a grand sweeping romance, but the movie is an engaging little character study.  Parineeti Chopra in particular gives a layered performance, and Rishi Kapoor is always a welcome presence.  I do kind of miss the froth, though.

Skyway Robbery

 Crew (2024) was inspired by the real world Kingfisher Airlines case, in which CEO Vijay Mallya fled India with a fortune while the airline entered bankruptcy after not paying employees for months.  The plot also draws inspiration from the genuinely awful 2003 movie Boom, which means that the bar is set pretty low.  Fortunately Crew manages to soar above it.

Geeta (Tabu), Jasmine (Kareena Kapoor), and Divya (Kriti Sanon) are flight attendants working for Kohinoor Airlines.  They all have backstories, helpfully provided through flashbacks: Geeta is a former beauty queen who has worked for the airline for years, supporting her husband Arun (Kapil Sharma) and his struggling food delivery business as well as her younger brother (Rahul Gilani); Jamine was orphaned at a young age and raised by her grandfather (Kulbhushan Kharbanda) and now works to raise capital for her cosmetics startup while dreaming of the finer things in life; and Divya was a star athlete and scholar from a tiny town who took a loan to go to flight school, but couldn't find work as a pilot and can't bring herself to tell her family.  They are quirky, flawed and interesting women.

Kohinoor Air has been going through a rough patch, and the employees haven't received any paychecks for months, instead surviving on a meager allowance.  Everyone hopes that the downturn is only temporary, and CEO Vijay Walia (Saswata Chatterjee) is on TV telling everyone that the airline is a family and everything will be okay.  Surely he can be trusted?

Things change when senior (and elderly) flight attendant Rajvanshi (Ramakant Dayama) dies suddenly on a flight, and the ladies discover that he's carrying several gold bars.  Jasmine is very tempted, but they hand the gold over to the authorities, represented by the persistent Sub-Inspector Mala (Trupti Khamkar) and dishy customs officer Jaiveer Singh (Diljit Dosanjh), who happens to be Divya's high school fling and is very interested in renewing that acquaintanceship.  

Still, it's a lot of money and times are really hard, so they do some digging,and realize that Rajvanshi was working with Kohinoor's HR Director Mittal (Rajesh Sharma), who turns out to be really easy to blackmail.   Soon the ladies take over Rajvanshi's smuggling duties, hiding balls of gold in surprisingly heavy chocolates.  Weeks pass, and the ladies have money, enough money that they risk an expensive night out on the town, where they are spotted by another flight attendant.

It can't last.  An anonymous tip puts Mala on their trail.  They're arrested, but manage to hide the current shipment of gold on the plane.  They are released for lack of evidence, but by that time the plane has already taken off, and the gold is discovered in flight.  Still nothing to tie it to our heroes, but their careers are ruined and they've alienated all their friends.  Vijay Walia has fled the country and the airline is about to collapse.  Then Divya realizes that they've been transporting Walia's gold all this time, helping to ruin themselves and their friends.  The only solution is to steal the gold back, because this is actually a heist movie.

It's a fun heist movie; hugely improbable, but full of entertaining twists, and there's a strong contrast between the grind of life as a flight attendant and the glamorous world that Walia lives in.  Ultimately, though, this is a character piece, and the cast are the real draw.  Kriti Sanon is charming and sincere, and Tabu is always a standout.  Kareena Kapoor started her career playing a succession of vain, spoiled and materialistic young women who turn out to have hearts of gold, and Jasmine is a character very much in the same mold, only older and worn down by years of struggle; it helps that Kapoor is a much, much better actor now than when she was starting out.

If you're looking for a fun, female led heist movie, Crew is a great choice.  Just don't watch Boom under any circumstances.

Return of the Yodha

 Kalki 2898 (2024) opens in the distant past, during the terrible last days of the war between the Pandavas and the Kauravas.  (You don't need a working knowledge of the Mahabharata to follow this movie, but it helps.) Ashwatthama, son of the great teacher Drona, unleashes the Brahmashirastra, the most destructive weapon in existence, in an attempt to kill the last unborn heir to the Pandava dynasty, only to be stopped by Lord Krishna (Krishnakumar).  Krishna declares that Ashwatthama is the worst sinner on the battlefield, and sentences him to live, alone and pained by his unhealed wounds, until the final incarnation of Vishnu is born.  

And he does live, for thousands of years, as an animated montage displays humanity's worst crimes, starting with Roman gladiatorial games and building up to the trans-Atlantic slave trade and the Holocaust; this sequence does not pull any punches.  When the movie shifts back to live action, the world is a very different place.

The world is a grim post-apocalyptic wasteland, stripped of resources; one of the early scenes is set in a truck hovering over the dried bed of the Ganges river.  Kasi is the last city on Earth, dominated by a range of scavengers and other lowlifes, but people from tiny villages in the wastelands still keep coming, because there's nowhere else to go with any resources.

Hovering above Kasi is a flying structure known as The Complex, where the fortunate few live lives of luxury.  In theory, anyone can buy their way into The Complex, but in practice gathering the required amount is practically impossible.  It's quickly made clear that these are very bad people who collect any fertile women they can find and force them into Project K, a scientific experiment at the behest of the decrepit Supreme Yaskin (Kamal Hassan), who rules the complex like a despotic god.

The Complex is opposed by a band of rebels who huddle in their hidden city of Shamballa.  many of the rebels believe in the impending incarnation of Vishnu, inspired by stories told to them by Mariam (Shobana).  Others are more cynical, but they are all devoted to overthrowing Yaskin and his minions.

But it's not all worldbuilding - there are characters as well.  It starts with plucky young girl Raia (Keya Nair) sneaks into Kasi disguised as a boy, but narrowly escapes being detected and conscripted into Project K.  She flees the city pursued by a robot, and takes shelter in the cave where Aswatthama is meditating.  he makes short work of the robot, but refuses to listen when Raia tries to convince him to join the rebels; he's here to save one person, not fight in anyone else's war.  But that's about to change.

Within The Complex, SUM-80 (Deepika Padukone) is going about her daily routine as part of Project K.  The subjects who have not been successfully implanted care for their pregnant sisters, at least until the scientists decide to brutally harvest them for the serum that keeps Supreme Yaskin alive.  What no one knows is that SUM-80 is also pregnant; she doesn't know how it happened, but she wants to keep her child from being harvested.  Unfortunately, time is running out.

And then there's designated Han Solo homage Bhairava (Prabhas), a skilled bounty hunter with an array of cool gadgets and a high tech dune buggy with a chatty AI named BU-JZ-1, or "Bujji" (Keerthy Suresh).  Bhairava is obsessed with the idea of getting into The Complex, and he's thrilled to discover that his occasional girlfriend Roxie (Disha Patini) has landed a maintenance job there.  He talks Roxie into getting him a temporary job as well, and once they make it to The Complex he convinces her to sneak away with him and explore, which involves a ride along the beach next to an artificial ocean, a dance number, and crashing a fancy party, but it all comes crashing down when Bhairava accidentally destroys Michelangelo's David.  

This leads to SUM-80 making a literally miraculous escape into the waiting arms of the resistance.  Commander Manas (Saswata Chatterjee), who acts as a sort of middle-management Darth Vader, offers an enormous bounty for SUM-80's return, which could be the one big score that Bhairava was waiting for, but he'll have to fight his way through rival bounty hunters, raiders, and Aswatthama in order to get to her.  The last one turns out to be the problem; Aswatthama isn't just a giant immortal, he's a mythical warrior from an age of legends, and is more than capable of dealing with Bhairava's technological tricks.  SUM-80, named "Sumathi" by a friendly but doomed rebel, makes it to Shambala, where she's greeted as . . . well,as the mother of the next incarnation of God.

She knows it's not safe.  Aswatthama knows it's not safe.  The audience definitely knows it's not safe.  manas and his men are searching for her, Bhairava wants to find his bounty and to outdo the one giant man who beat him in a fight.  It's all leading to a climactic battle in Shambala which will end in widespread destruction, a key character twist (which is well telegraphed if you're familiar with the Mahabharata) and a cliffhanger, because apparently this is the first movie in the Kalki Cinematic Universe.

It's easy to think of this movie as "Bollywood Star Wars," and there's some truth to that, even though the lightsabers only appear in one brief flashback scene.  On the other hand, I can see some influence from other sci-fi films of the Seventies and Eighties, like Zardoz and Warrior of the Lost World; Bhairaya even drives his AI-equipped vehicle through the illusion that masks the secret home of the Resistance.  That's not a bad thing; those movies were not great, but Kalki 2898 inherits some of their better ideas, and the whole production is infused with a gritty, run-down Seventies sci-fi style, only with a much bigger budget.

 

Prabhas is genuinely charming and the cast is engaging, but Amitabh Bachchan towers over everybody else, both literally and figuratively.  Aswatthama has the strongest backstory and the clearest character arc, and he has the added advantage of being played by Amitabh Bachchan, who is famously good at acting.  Saswata Chatterjee is another standout; Manas is a genuinely terrible person, and he alternates between over-the-top villainy and resigned banality of evil.

The movie looks great, and the plot is compelling, but there are a lot of characters and it does take a long time to get going.  Trim the padding, and we could have gotten one complete story instead of another epic that will take real world years in order to resolve, but people like their cinematic universes these days, and the movie we do get is pretty fun.

August in Wonderland: Alice in Wonderland

The Alice books are a popular subject for the stage as well as film.  (Your humble scribe was once cast as the Caterpillar's butt.)  In 1983 PBS's "Great Performances" broadcast an adaptation of the recent Broadway revival of Alice in Wonderland, retaining Kate Burton as Alice but recasting most of the other roles.  And the end result is visually striking, recorded in a TV studio but with constructed sets and a light splashing of special effects and transitions, making it look like an enhanced stage play.

There is also a new framing device.  Rather than a bored Alice watching her sister read, Alice (Kate Burton) is an understudy for a stage production of Alice in Wonderland, desperately running lines as the rest of the cast and crew gossip about whether she's ready.  Alice flubs a recital of "Jabberwocky," then slips through the looking glass and meets a White Rabbit (Austin Pendleton.)  That is not the way this normally goes, but from that point onward it's a fairly faithful (if abridged) adaptation of the book.  Alice tangos with a Mouse (Nathan Lane), consults the Caterpillar (Fritz Weaver), argues with a Cheshire Cat (Geoffrey Holder), crashes a mad tea party (featuring Andre Gregory, Željko Ivanek, and Dean Badalto), plays croquet with the Queen of Hearts (Eve Arden) and then interrupts the trial of the Knave of Hearts (Tony Cummings) before declaring that they're "Nothing but a pack of cards!" and returning to her dressing room.

Only for a moment, though, because this is an adaptation of both books.  Alice meets the Red Queen (Colleen Dewhurst) and eagerly agrees to become a pawn in the ongoing chess game so that she can reach the Eighth Square and become a Queen.  That means more episodic adventure, including dancing with Tweedle Dum and Tweedle Dee (Andre De Shields and Alan Weeks) and assisting the White Queen (Maureen Stapleton).  

After a frustrating meeting with Humpty Dumpty (Richard Woods) Alice is on the verge of tears, and then the movie wheels out its secret weapon: Kate Burton's father Richard, playing the White Knight, riding on a pantomime horse.  There's a sudden shift from nonsense to sincerity, as Alice and the Knight have a brief but sincere conversation, the Knight sings a sad song, and then he goes on his way.  The two have managed to cheer each other up, and Alice is prepared for the madness of the finale.

The sudden shift in tone might be surprising, but it is exactly what happens in the book; in all of Alice's journeys, the White Knight is the one character who is consistently kind to her, and he is the one person she's said to remember fondly.

"Of all the strange things that Alice saw in her journey Through The Looking-Glass, this was the one that she always remembered most clearly. Years afterwards she could bring the whole scene back again, as if it had been only yesterday—the mild blue eyes and kindly smile of the Knight—the setting sun gleaming through his hair, and shining on his armour in a blaze of light that quite dazzled her—the horse quietly moving about, with the reins hanging loose on his neck, cropping the grass at her feet—and the black shadows of the forest behind—all this she took in like a picture, as, with one hand shading her eyes, she leant against a tree, watching the strange pair, and listening, in a half dream, to the melancholy music of the song"

 And the Burtons seem to be delighted to be on screen together.  It is a big shift in tone, but it works.

 Alice in Wonderland has a fabulous cast, and I haven't had time to mention them all.  While the whole production looks and feels stagey, most of the acting is understated and naturalistic, which really works; when the Mad Hatter isn't busy being flamboyant and wacky, for instance, the menacing tone of the text really comes through.  The one exception to this is, surprisingly, Kate Burton's Alice, who is almost aggressively chipper.  This is an Alice who is having a great time until she's not.

Finally, the costuming and scenery is gorgeous.  Everything is designed to look like a Tenniel illustration come to life.  Not inspired by Tenniel - the stage is made of black and white illustrations, and the costumes include cross-hatching and line work.  It's one of the best looking Alices I've ever seen, as well as a great performance.

August in Wonderland: Neco z Alenky

 Neco z Alenky (1988), known in English simply as Alice, is Czech artist and director Jan Švankmajer's take on the Wonderland story. Švankmajer felt that other Alice movies presented the story as a fairy tale, and he wanted to create a version that felt like "an amoral dream."  The Czech title is much better than the rather generic Alice; Neco z Alenky translates to "Something From Alice," and that's what we get.  It's a very carefully curated artistic presentation.

Right from the start it's clear that this Alice (Kristýna Kohoutová) isn't the same as other Alices.  She's introduced in the traditional fashion, bored stiff as the sister next to her concentrates ona  book without pictures or conversations, but instead of musing about how to make a daisy chain without picking any daisies, Alice glowers as she tosses stones into the river.  A quick change of scenery and Alice is in the house, surrounded by detritus and clutter, throwing stones into a teacup instead.  And then things get weird.

A white taxidermied rabbit pulls the nails out of its feet, opens a hidden drawer to retrieve hat, gloves, and scissors, breaks free of its case, then runs across a field and disappears into a different drawer.  And Alice watches this happen and decides it's a good idea to follow this creature.  She slips into the drawer herself, and then things get really weird.

Of course that's more or less what happens in the book, and Neco z Alenky follows an abridged version of the plot of the book, though it's tilted to become more surreal and macabre.  Alice follows the White Rabbit deeper and deeper into  this found art Wonderland, always asking the Rabbit to wait, and the Rabbit either runs or responds with violence.  This White Rabbit isn't the same as other White Rabbits, either.  It's still a dandy, still perpetually late, but cuts a much more sinister figure and acts as the executioner for the Queen of Hearts, snipping off heads with an oversized pair of scissors.

But I'm getting ahead of myself.  Alice learns how to change size by eating small tarts and drinking ink; she becomes a porcelain doll when she's small, but doesn't seem to notice.  She nearly drowns in a  pool of her own tears and a rat tries to build a fire on her scalp.  She grows to giant size while in the White Rabbit's house, accidentally kills Bill the Lizard (he gets better) and is trapped in a plaster cast of herself.

And so it goes.  Alice meets a caterpillar made of socks, has tea with a puppet Mad Hatter and clockwork March Hare, and finally plays croquet with the King and Queen of Hearts, who get very annoyed when Alice refuses to stick to the script.

The movie is undeniably strange, and not just because of the visual style.  Kristýna Kohoutová voices all the characters (Camilla Power in the English dub) and serves as a sort of narrator; any time a character says something, there's a close-up of Alice's lips as she provides the dialogue tags.  On the other hand, we don't get to hear what Alice is thinking, and so the whole movie winds up feeling a bit more mundane than the books, since we're missing Alice's often bizarre musings on identity and biology and geography and Mabel's poky little house.  

More than anything else, Neco z Alenky reminds me of a pop-up book.  It delivers stunning and unexpected visuals, but there's story missing - it's something from Alice, heavily abridged.

August in Wonderland: Alice Through the Looking Glass

In "Through the Looking Glass", Alice has an actual motivation: she wants to reach the Eighth Square and become a queen.  It's still a hard plot to spin into a movie, though, because there's no actual antagonist.  Humpty Dumpty may be a pedantic jerk, and the Red Queen is bossy and rude, but they're not trying to prevent Alice from reaching her goals.  Nobody is!  However, Alice Through the Looking Glass (1966) solves the problem in a simple way, by ripping off "The Wizard of Oz."

Alice (Judi Rolin) is a bored early Sixties teenager sitting alone upstairs while her sitcom dad (Richard Denning) hosts a cocktail party downstairs.  She isn't bored for long, though.  Looking in the mirror she spots the Red King (Robert Coote), who is not asleep, which means this is already an incredibly loose adaptation of the book.

The Red King invites Alice to join him on the other side.  She does, and she's introduced to the Red Queen (Agnes Moorehead), the White Queen (Nanette Fabray), and the White King (Ricardo Montalban), and there is exposition.  The Kings and Queens don't really rule anymore, because the Looking-Glass Land has been conquered by the Jabberwock (Jack Palance), a creature so terrible that the cowardly royals don't dare say his name out loud.

Alice urges the royals to stand up and fight back, and together they come up with a plan.  Since Alice is enthusiastic about becoming a queen, she can follow the Yellow BrickBlue Road to the end of the board and earn a crown, and the Looking-Glass people will be so inspired by her example that they'll all rise up and overthrow the Jabberwock and live happily ever after.

It's obviously Oz inspired, but there is one key difference: Dorothy wants to go home, while Alice is determined to stay in Looking-Glass Land and rule as a queen, terrible and beautiful as the dawn.  Still, it's time to get on down the road, and so Alice sets out on her journey.

The Blue Road is really a trap.  The Jabberwock painted it blue so that it will be the same color as the sky, which means that careless travelers will go up rather than down and be lost in the air forever.  Alice passes the test, leaves the blue road behind, and walks down a different road, made of yellow brick.  She conquers the three fairy tale witches (Sara Taft, Georgia Simmons and Maryesther Denver) the Jabberwock sent to guard the path, meets the Jabberwock himself, and is saved by that beloved Lewis Carroll creation, Lester the Jester (Roy Castle).  

Despite the extended Oz riff, though, the movie does occasionally drift in the vague direction of the book.  In her wanderings Alice meets Humpty Dumpty (Jimmy Durante) and Tweedle Dee and Tweedle Dum (Dick and Tom Smothers), and she finds time for a long and melancholy conversation with the White King, who takes the White Knight's slot as "friendly older character who keeps alluding to aging and death."  (Montalban sells it; it's easily the most affecting part of the film.)  Still, Carroll's book is treated as more of an outline, and lines form the book are rare enough to be easily noticeable.

This version of Through the Looking Glass was made for TV, and the tone is set to "Sixties variety Show," though everyone is chewing so much scenery that it all comes across as a bit panto.  It's got a great cast, but Alice adaptations often have great casts; the books may not have much plot, but there are plenty of distinctive characters to choose from, and interesting scenery to chew.

This is not a great adaptation of "Through the Looking Glass."  It succeeds on its own terms, but those terms are very specific to its time and place.  Ricardo Montalban is great, though.

August in Wonderland: Alicja

 Alicja (1982) was a Belgian and Polish co-production, released internationally under a number of different titles; in English it's simply called "Alice," while in Germany the movie was released as "Alicija im Horrorland," which must have led to a lot of disappointed German horror fans; while it's weird and occasionally disturbing, this is not a horror movie.  The real terror here is ill-advised rebound relationships.

Alice (Sophie Barjac) leads a mundane life in an unnamed European city.  She used to be a stewardess, but now she works at a TV factory along with her three friends.  Turtle (Jack Wild) is bookish and completely smitten with Alice, but too shy to say anything.  Gryphon (Dominic Guard) is supportive. patient and sensible.  And Mona (Tracy Hyde) doesn't really have a Wonderland counterpart, but calling her Mabel would have been an excellent deep cut, since like Carroll's Mabel, Mona exists to define Alice by contrast.  Mona likes to go out and party, while Alice would rather stay home.  Mona is fine with dating married men, and Alice very much is not, especially since her separation from her philandering pilot husband Cheshire Cat (Paul Nicholas.)

One day Alice and her child friend (Julia Hubner) are in the park people watching, when Alice spots a masked man with a rifle take aim at a handsome older jogger.  He fires, the jogger hits, and Alice faints on the spot, but when  she opens her eyes the jogger is there and unharmed and very French and his name is Rabbit (Jean-Pierre Cassel).  Rabbit offers to give her a ride, she declines, and he leaves, because he's late for a very important date.

And then Rabbit shows up at the factory, ostensibly on business, but sneaks away so that he can follow Alice to the cafeteria and pretend to be a waiter, allowing him to flirt a bit and the audience to learn Alice's backstory.  The flirting doesn't take, so Rabbit shows up at her apartment and, during a charming song and dance number, bribes the concierge to find out more about Alice and exactly which apartment she lives in.

Turtle and Gryphon don't trusty Rabbit, and they are completely correct, because Rabbit has secrets.  He owes money to the wrong people, and he begs his wealthy friend Queenie (Susannah York), not realizing that Queenie is the wrong people he owes the money to.  

After permanently ending things with Cheshire Cat, Alice sings a duet about identity and change with a taxi driver who may be named Caterpillar (German Schlager and country singer Gunter Gabriel), convinces her child friend not to stab someone, then sings another song about love while walking for miles.  So she's in a more receptive mood when Rabbit shows up at her apartment disguised as a plumber, and agrees to join him at one of Queenie's parties, where she meets March Hare (Marc Seaberg) and Mad Hatter (Peter Straker.)

 

Alice dives headlong into a relationship with Rabbit.  Turtle and Gryphon once again warn her to be careful, and once again they are completely correct.  Queenie has grown tired of Rabbit, and she's dispatched a pair of bumbling but oddly effective assassins (Wieslaw Golas and Andrzej Wasilicz) to deal with the problem.  

 Rabbit breaks up with Alice, then goes on the run, and Alice swallows a handful of sleeping pills before slipping into a disco-fueled psychedelic nightmare which highlights her insecurities, makes some direct Wonderland references, and provides an excuse to but Sophie Barjac in a flimsy nightie with bright lights behind her.  And then things get weird.

Rabbit's characterization hasn't really aged well; the light stalking may have seemed romantic back in the early eighties, but from a modern perspective he's a singing and dancing collection of red flags in a nice white suit.  (Ladies, if you meet his friends and he has to assure you that they don't mean any harm, he is not for you.)  That said, the movie does seem to recognize that this is not a healthy relationship, and Alice traded one charming but secretive man with a tendency to abruptly vanish for another.

Still, the movie is consistently odd and entertaining.  The music is fantastic, with Scottish singer Lulu singing Alice's part.  Susannah York chews all of the scenery, Jean-Pierre Cassel dances brilliantly, and Sophie Barjac is by turns delightful and heartbreaking.