Is this what steampunk is? History through an alternate lens? For some reason, I thought it would involve more, y’know, steam … like every machine in a steampunk world runs off combustion and smoke. But it’s possible that’s just a comic book interpretation. Perhaps steampunk is simply history transported to a different reality. I dunno. What I do know is that Vichy France didn’t include Kevlar riot gear, digital clocks, and hatchbacks.
Before I start, I must point out exactly how bizarre it is that our “hero” Georg (Franz Rogowski) bears a striking resemblance to American cinematic drifter Joaquin Phoenix. Not only is this weird in the way that were the film a product of the United States, Joaquin would almost certainly be the dead-on casting choice for the oft confused and disguised nobility of Georg, but –holy crap!- Franz even has that cleft-palate scar that Joaquin sports. Is this how undiscovered heroes are cast?
The Transit timeline confused me for ages – the plot said “Nazis” and “WWII,” but the scenery and clothing constantly said “Is Lance Armstrong in the tour this year?” Semi-resistance member Georg is asked to deliver some letters to a professor. He agrees, but it takes some convincing. By the time he hits the hotel for the drop, the prof has committed suicide and Georg is on the run with some prof docs. I tell ya, there are no shoes quite as comfy as profdocs. Of course we see what’s coming: in finding Transit by ship out of Marseille, Georg can simply assume the identity of The Prof. It’s a good thing the Vichy govt is only searching for Colonel Mustard.
Ah, but movies like these always have complications; else you don’t have a movie. The first is Georg has to deliver bad news that a fellow resistor died on the train. He must deliver this news to a sick ten-year-old boy and his deaf/dumb mother. The second is that The Prof’s wife is in Marseille looking for him. Well, geez, check your iPhone for the news, won’t ya? Oh, I forgot, this is 1942. Or “1942.” I’m not actually sure which.
Transit is something of a critical favorite and I’m not quite sure why. My first impression was that the film was simply too cheap to spring for period sets. My second impression was “gee, this makes me think of Casablanca.” Except that the Casablanca comparison is so obvious (occupied foreign territory, letters of Transit to freedom, mistaken identities, possible romance, possible love triangle) that it was clearly part of the film’s intention to invoke Casablanca, which, quite frankly, cheapens it for me. The third impression being that Franz looks like Joaquin Phoenix, well, that’s three strikes. I don’t care what your film has to say or how much other critics like it … I’m not them and your Casablanca-stealin’-steampunk-wannabe-bullshit can keep its ass in France. Y’hear?
P.S. Sorry about Notre Dame; that still exists in the Transit world, right?
I hope those guys don’t see us
This war has me delirious
When they invade France
We have but one chance
We’ll flee Nazis via Prius
Not Rated, 101 Minutes
Director: Christian Petzold
Writer: Christian Petzold
Genre: History … ?
Type of being most likely to enjoy this film: People who consider Casablanca the best film ever made
Type of being least likely to enjoy this film: People who consider this a weak Casablanca ripoff
