Customer Reviews

CQ

5 star:		(9)
4 star:		(9)
3 star:		(7)
2 star:		(0)
1 star:		(1)

 

 

Sofia Coppola may have got all the kudos with The Virgin Suicides and Lost in Translation, but, from a 60s movie buff's point of view, the other Coppola kid, Roman, turned out an even more enjoyable feature, CQ. Shame that no-one saw it. Barely released in the US (and not released at all in most countries), it's an engaging little number that pits underground cinema against Eurotrash moviemaking at a time when people still thought even pulp cinema could be the stuff of revolution (1969-70 to be precise).

A riff on Sullivan's Travels and 8½, it sees Jeremy Davies' editor of Franco-Italian co-pro 'Codename: Dragonfly' struggling to come up with a new ending while making his own personal film with borrowed equipment. Oh, and falling in love with the fictional main character, confusing film and reality (not only is he too busy documenting `the truth' of his life to see it around him but he even enters the film to sort out a plot hole) and possibly being targeted for retribution by Gerard Depardieu's fired firebrand director. (The door panel that Depardieu breaks that is later framed and given to the editors is actually one that Francis Ford Coppola smashed on one of his films!)

Filled with sly 60s cinema references from Fellini to Warhol (even the trailer he cuts for the film is inspired by the one for Dr Strangelove) and with some character touches straight out of James Joyce, the visual influence is much more Danger: Diabolik than Barbarella (John Phillip Law even appears in the film within the film), and Dean Tavoularis' spot-on production design and Robert Yeoman's superb photography are both pitch-perfect. Davies, so irritating in Soderbergh's disastrous Solaris, is quietly fine here, Jason Schwartzman has fun as a bizarre hybrid of a young papa Coppola mixed with Roger Corman via Austin Powers, Giancarlo Giannini does Dino de Laurentiis to a tee (with Sofia Coppola cameoing as his mistress), and there's good work from Dean Stockwell and Massimo Ghini as well. At the end of the day there's not much there, but Coppola's love of moviemaking makes it surprisingly joyful to watch if you're in a receptive mood. And MGM's DVD is filled with extras, both interesting and appropriately self-indulgent.

Cheeky, cheesy, funny, and thoughtful! I discovered this small gem of a film and rented it w/no idea of it except for what the back cover disclosed. Upon initial reading, I thought it might be akin to the "Matt Helm" or "Flynnt" films of the 1960's with a twist or a spoof of the spy film genre. I was wrong.

It's Roman Coppola's (Nicholas Cage's cousin) sentimental treatment of his early movie-watching experience as well as the personel odyssey of a first time director against the backdrop of the making of a late 60's/early 70's spy film. The idea of a film within a film is not new and could be confusing; however, Mr. Coppola's use of the technique works for him here. Though it is not the best film of 2002, it is an intelligent, thought-provoking, and entertaining little movie.

The caliber of talent Mr. Coppola assembled in Jeremy Davis, Elodie Bouchez, Angela Lindvall, Giancarlo Giannini, Gerard Depardieu, Jason Schwartzman, John Philip Law, and Dean Stockwell go a long way in making this a little gem and not a lump of coal. The choice for casting worked nicely for this 1st time director. The confusion and searching portrayed by Davis' character kept me interested in his trials and tribulations as he tries to find truth through the media of movies in his life. It is his search that ultimately made me like the film. This main character is neither good or bad, but a man trying to find his way in the world he has chosen, meanwhile, like the rest of us, he still has a day job [sound editor-turn-director] to contend with while searching. It is Mr. Coppola's handling of this character that will either keep or lose you in the film. His first outing shows he has definite potential and not just b/c of family ties. As his first directorial movie, its likable.

On a secondary note, the music and cinematography are reminiscent of the times. The Dragonfly visual sequences and soundtrack provided by Mellow almost take you back to those psycodelic times. Compare the Dragonfly scenes w/movies of the same period and you will notice how well the cinematography was done. The background music, though could sound cheesy, comes across authentic. In both categories, Mr. Coppola did nicely. It would seem his choice of music was influenced by his sister's "The Virgin Suicides" OST, except the dark electro-synth sounds of Air are replaced in "CQ" with the dreamy, relaxed sounds of Mellow.

In conclusion, if you're looking for a little movie done sentimentally, but not sappy about a person searching for truth to the background of some laid-back sounds, then CQ is the film for you.

Bought the DVD after remembering the photo of a space-suited Angela Lindvall in a magazine the year the movie was released. Money well spent. The recreation of late 60s Europe is well done as is the purposely cheesy film-within-the-film. Perhaps it will lead to "Danger: Diabolik" and other genuine 60s films for you.

"CQ" is the first feature film directed by Roman Coppola, son of much famous director Francis Ford. But you should forget that fact for a while, and enjoy the strange world of the 1960s he created for the film.

The film is set in Paris in 1969, the time of revolution. An American film editor Paul (Jeremy Davis) is working for a small studio there hired by an Italian producer (Giancarlo Giannini, "Hannibal"). At his small flat, with his camera, Paul keeps on filming his own life, or making a film about the "truth" of life -- meaning cinema verite, you got it? -- while his sweet French girlfriend is not so enthusiastic about his works. Well, his life seems going nowhere when suddenly he is given a chance: a chance to direct a grade B-Sci-fi movie "Dragonfly" (not that Kevin's film). But there is one big trouble. They could not find the right ending of the film yet.

Coppola's "CQ" proceeds side by side with Paul's film-within-film "Dragonfly," featuring the titular female spy, who looks as if coming straight from "Modesty Blaise" and "Barbarella." Paul is absorbed in making this film, and drawn to the heroine (and its actress Valentine, perfectly played by Angela Lindvall) while his own life, especially the relations with his girlfriend, begins gradually to play the secondary role.

Even if you are not particularly a fan of the films of the late 60s, you'll soon find that the greatest virtue of "CQ" lies in its re-creation of the psychedelic fashion and energetic atomosphere of the time. Cheep-looking, but strangely amusing production designs, and delightfully quirky costumes of "Dragonfly" would be joyful to you, especially when you have some knowledge about the time of Yellow Submarine even though Paul's own story is, compared with the detailed images of "Dragonfly," weak and uninteresting.

You can, however, find lots of intriguing reference to the films in the past, and its interesting cast are really helpful. See. for example, the faces of Billy Zane, Jason Schwartzman, Gerard Depardieu, Sophia Coppola, Dean Stockwell, and John Phillip Law (who was in, yes, "Barbarella"). The film (I mean the entire "CQ" and "Dragonfly") is sometimes too self-indulgent, but the first-time player Lindvall is so credible as beautiful Dragonfly/Valentine that if you fondly remember that constumes of Jane Fonda, you will love her anyway. And the French group Mellow's soundtrack, which might remind you of the music of the Beatles of post-Sgt. Pepper era, is another merit of the film.

space age chic with stunning visuals, great music and a hypnotic story. I thought it dragged at times but was well worth the delightful pseudo-psychedelic trip and ingenious, albeit pretentious and self mocking, twists.

This film is about a brooding young film editor who gets a crack at directing a "Barbarella"-esque sci-fi flick feature he is working on when the flamboyant director is injured. One would think that finding oneself in 1960s Paris, directing a movie starring a beautiful girl would actually be fun for this young guy. But, no. Thinking the paying work is shallow, he works harder at making a self-indulgent film about... himself. He constantly takes up the time he should be using to galavant around Paris by filming his angry girlfriend and making his own monologues into his 16mm camera. The underlying message of "CQ": Some people miss the signal to be happy.

Wanted to get a vote in on it- for the price of the used DVD's above, you can't go wrong- it's a fun film!

Roman Coppola officially joins his family's business with his directorial debut, CQ. For anyone out there who loves BARBARELLA it's a must-see.

CQ is a valentine to Roger Vadim's fabulous sci-fi/soft-core flick as well as the French New Wave movement. Jeremy Davies stars as Paul Ballard, an aspiring American filmmaker living in Paris with his French girlfriend, Marlene, an Air France stewardess. Paul is working as an editor on a cheesy sci-fi flick called "Dragonfly" a collaborative French and Italian production starring a leggy young woman in progressively scantier outfits (sounds familiar?). In his spare time, Paul makes a documentary about himself and his life with Marlene.

The film is about seeing -- how we perceive ourselves and how limited we can be in our vision, even those who are supposed to be masters of a visual medium -- and seeking out love. (The title CQ refers to Morse Code shorthand for "seek you".)

The action cuts smoothly between the narrative action in color, Paul's black-and-white footage and "Dragonfly" footage also in color. The costumes and particularly the soundtrack are both fantastic, helping to set the mood and establish the time period.

The strong supporting cast includes Gerard Depardieu as "Dragonfly"'s director, Coppola's cousin Jason Schwartzman as a buffoonish Eurotrash wunderkind director, Billy Zane as a "space-age" Che Guevara figure in green satin fatigues living with his rebels the moon, and model Angela Lindvall as Dragonfly. An added bonus is John Philip Law as The Chairman of the organization that hires Dragonfly for her mission; Law played the angel Pygar in BARBARELLA.

The sum is not quite equal to its parts, and it is not as strong a debut as sister Sofia's THE VIRGIN SUICIDES but it remains interesting throughout

Godard brought an element of playfulness to the cinema. He turned the conventions of filmmaking and writing upside down. Roman Coppola seems to be following Godard's lead, about 40 years afterwards. The story is silly, routed in satire not all that different from Kubrick and Godard. It's the story of a young understudy, who after studying under several directors (the unhappy artist re: Coppola or Kubrick and the glitzy sci-fi sex and action guy re: Lucas) on the same film, eventually gets his big break since he knows the film best. He's seen ever inch of the film backwards and forwards repeatedly on the editing table. Why he was given this break, we are not sure. Could the producers have thought they could create a puppet to make the film their way? Not to mention that he's in love with a stunning lead actress who's otherworldly beauty could only actually exist in the movies. But the plot plays second fiddle to much of the philosophy behind the film. The critical analysis of filmmaking, especially that of Hollywood filmmaking

The cinematography and set design looks like a combination of Blow up and a low budget 2001: A Space Oddessy. And the soundtrack is very similar to the atmospheric ambience created in the Virgin Suicides.

The only problem with CQ is that it seems too short. Maybe Coppola thought he couldn't pull the joke off for more than 90 minutes but I was left wanting more.

OK maybe this film isn't the best thing since sliced bread and maybe some of the melodrama is unbelieveable, but this is a darn good debut from a promising new director. In fact, many of the camera angles and artifices Roman Coppola used in the film were very reminiscent of his fathers golden years (Pre-"Jack") more so then say.....The Virgin Suicides? And although it isn't going to change the history of cinema in any way, I give this one five guilty pleasure stars. Fun to watch without taking you for an idiot, a very rare combination in Hollywood today.