Roman Polanski, “Frantic” (1988)
For a film proclaiming itself “Frantic”, this suspense thriller is surprisingly cool, calm and collected as it follows its hapless protagonist doctor with an air of bemusement. This is definitely not one of Polanski’s better films: the plot, stretched out over two hours, is very lightweight and its characters are more representative of various stereotypes than real people. The film works as both homage to Alfred Hitchcock and a comic expression of a theme dear to Polanski’s heart: the outsider, displaced for some reason in a society that treats him/her with indifference and sometimes hostility, having to navigate his/her way through that society and come to grips with it in order to solve a problem.
Dr Walker (Harrison Ford) and his wife (Betty Buckley) have just arrived in Paris to attend a conference. While settling in their hotel room, trying to cope with jet lag, the couple find they have the wrong suitcase. They make some calls to the lobby and the airport and then Walker decides to take a shower. While he cleans himself, the missus answers a call at the door and disappears. Initially Walker thinks his wife has popped out for a while but as the time passes by, he realises something is amiss. His realisation soon turns into alarm and he reports her missing to the police and then the US consulate but the authorities treat his plight with blank-faced unhelpfulness. Walker takes matters into his own hands and searches for his wife despite not knowing how to speak French and brushing up against the local people’s assumptions about Americans being stupid and crude. With the help of a young woman Michelle (Emmanuelle Seigner), whose case was swapped accidentally at the airport with his wife’s case, Walker discovers he and his wife have stumbled into an amoral underworld of spies trading dangerous secrets for money and using innocent and ultimately disposable people. Not only is his wife’s life in danger but Walker finds that he and Michelle are also targets for intimidation and violence.
Several familiar Hitchcockian ploys and devices are at play here: McGuffin elements are plentiful and Dr Walker represents a fairly typical if very middle class everyday man thrust suddenly and unexpectedly into a world (indeed, two worlds) unfamiliar to him. He first has to navigate the world of nightclubbing, easy drugs, prostitution and lax morality to find the first clues that lead him to Michelle and then tread warily through another even more secret corrupt and violent world of espionage. Unfortunately this scenario is treated rather unevenly and superficially, and viewers get no sense of Walker ever having to question the perhaps narrow and conservative morality he was brought up with and takes for granted. There is also no sense of Michelle being forced to question the values and morality of her world; she remains essentially a feral child throughout the film.
A major problem with this film is the one-dimensional characters who are more symbolic than real. Ford does what he can with his role as middle-aged and respectable white Anglo-American tourist of somewhat limited horizons thrust into scenarios both embarrassing and helpful to him. In order to find his wife, he must rely on a young woman of dubious reputation and mix with her social scene. This pairing of unlikely opposites is worked for comic effect in some scenes in which Walker and Michelle come across his medical colleagues who think the two are having an affair. As the film proceeds from Walker’s point of view, we are not treated to scenes where Michelle’s friends think she’s got a rich sugar daddy and try to press her to get money off Walker. Now that would have been amusing to see! Michelle initially presents as a stereotypically defiant goth girl who fell in with a wrong crowd as a teenager and survives by her wits and taking on quite dubious jobs like being a drug mule; she sort of has a heart of gold beneath the cynicism. Her streetwise instincts however become her undoing. Ultimately there’s no sense at all that Walker and Michelle have changed much as a result of meeting each other and having to work together to get what they want. All other characters are essentially props that help the action along and flesh out the scenery.
Polanski’s mischievous sense of humour is evident in scenes that involve a small statue, a replica of a much larger one familiar to New Yorkers, carrying the detonation codes for a nuclear bomb and Walker’s attempt to negotiate with some American diplomats. However the humour is not much comfort in a film that seems very hollow and which Polanski could have done better had it carried more fire about the duplicity and corruption of the world of espionage, and how it endangers the lives of innocent people who are accidentally caught up in it.