THE MAN ON THE TRAIN, the most recent film by French director Patrice Leconte ("Ridicule," "Girl on the Bridge"), is a wonderful discovery, a film of quiet surprises and rich, probing characters that is well worth the price of admission. Bouyed by two sensational lead performances by stars Jean Rochefort and Johnny Hallyday and an often very funny, absorbing script by Claude Koltz, THE MAN ON THE TRAIN is a must see for viewers wishing a reprieve from the summer blockbusters.

Pic opens with Milan (Hallyday) stepping off a train in a quaint French village where, viewers will soon discover, he will meet some associates for a bank heist that Saturday. He comes upon the elder Manesquier (Rochefort) in a drugstore, who invites Milan to stay with him at his house since hotels are closed during the off season. From this simple premise THE MAN ON THE TRAIN strikes narrative gold as it concentrates on the odd couple relationship between the two opposites--Milan, all gruff and taciturn cool; and Manesquier, a lonely, retired Literature teacher who is habitually garrulous. As the film progresses, viewers discover Milan to harbor a secret affinity for the poetry he overhears Manesquier tutoring to private pupils, and a plain desire for the domestic tranquility he sees in his new companion. For his part Manesquier has grown weary of the chronic predictability that is his sedate life, longs for the danger that his new boarder inhabits, and is soon receiving shooting lessons from Milan (And has an appointment of his own on Saturday). Pic concludes on a relatively disappointing note with both men keeping a date with destiny that neither looks forward to.

Acting is superb. As Manesquier, Rochefort is both endearing to viewers and serially amusing, as he cuts to the very heart of an old gentleman who craves for some--any-excitement in his life. This is a man who deliberately keeps his gate and front door unlocked with the secret hope that one day he'll stumble upon an intruder. Rochefort has a very funny sequence where he dons Milan's leather jacket--the antiquated emblem of cool--and enacts hypothetical (And comical) good guy/bad guy scenarios for his own pleasure. Hallyday more than holds his own in the more contemplative role of Milan, who with his coarse goatee and cropped hair resembles Robert DeNiro's thief in "Heat." The singer turned actor has a memorable scene of his own where he secretly tutors one of Manesquier's pupils, dedicatedly mimicking the professor's gestures and phrases, secretly making them his own.

Leconte's direction is focused and unharried, and meticuluosly allows for the audience to become fully involved with story's set up and great characters (Besides Rochefort and Hallyday, Pascal Parmentier has a brief but unforgettable role as a dim witted accomplice of Milan's, who at ten o' clock sharp always articulates some random statement of philosophical import). Koltz has a terrific script but film's only flaw is its disappointing conclusion. By this time viewers should be more than aware that Manesquier and Milan wish they could switch destinies. Metaphysical "What if?" granting of this wish could have been attained through a more uncontrived solution. But this could do little to impede upon what is a substantially enjoyable experience. Patrice Leconte's THE MAN ON THE TRAIN, with its outstanding central performances by Jean Rochefort and Johnny Hallyday, is formidable storytelling.

Recommended:
Yes