Retro Film Review: Killing Zoe (1993)
Tarantino's triumph in mid 1990s and his subsequent cult status among the world's audiences led some social commentators to speculate about some ideological or pseudo ideological content in his films, especially the content that resembled the ideals of people best known as "Generation X". This group, people in their 20s, especially those fortunate enough to inhabit USA, lived in the world that seemed like a fairytale to the previous generations – the end of Cold War took away the fear of nuclear annihilation, globalisation and dot-com economy brought enormous prosperity,Third Way ideologies brought "kinder, gentler" and presumably the ultimate form of capitalism, while the USA as sole superpower could even afford to luxury to military intervene for purely humanitarian reasons and even bring long-lasting peace to places like Northern Ireland and Palestine. Yet, living in such utopia failed to make "Generation X" better than their parents and grandparents - lack of ideological or existential challenges brought cynicism, hedonism and the imperfection of human individual even reflected in subversion of the society that brought such prosperity. Combination of cynicism and desire for instant self-gratification at the expense of social rules in same ways reflected in the works of Tarantino, but its purest form was actually found in the work of Tarantino's lesser known associate Roger Avary, his friend and co-writer of Pulp Fiction. Avary's
1993 film Killing Zoe, although being one of the more obscure 1990s films, could very easily show what 1990s were all about.
Plot begins in Paris where Zed (played by Eric Stoltz), mild-mannered professional safe cracker, comes at the invitation of his childhood friend Eric (played by Jean-Hugues Anglade). The purpose of his visit is part business - helping Eric and his gang to rob the bank during Bastille Day - but Zed nevertheless finds time to seek some pleasure in the form of beautiful call girl Zoe (played by Julie Delpy). The night of passion might even lead to longer-lasting relationship, but this is brutally interrupted by Eric who drags Zed to "live it up" in the night before actual robbery. After the surreal experience that involves listening jazz bands in seedy Parisian bars, consuming drugs and witnessing homosexual acts between the gang members, Zed, Eric and the rest of gang go to the bank and everything that could go wrong actually goes wrong. Eric and his drug-crazed cohorts are not only completely unprepared for the job, but Zoe actually happens to be one of the tellers. Soon, the utter lack of planning and unchecked homicidal urges of the robbers results in hostage situation, massive bloodbath and absolute mayhem.
The unavoidable comparison between Killing Zoe and Tarantino's Pulp Fiction were unkind to the former. It is quite understandable, since Avary in this movie obviously lacks Tarantino's talent for dialogue, "cool" pop culture references or unusual narrative structure. What we are left with is straightforward story with somewhat unusual characters and almost pornographic display of violence, drug use and various other forms of human depravity. Yet, beneath such facade Avary shows a lot of energy - hallucinatory scenes of Eric and his gang carousing in Parisian underworld are quite memorable, as well as the movie's violent finale. The characterisation is also quite good - protagonists perhaps lack Tarantino's lines, but they are well-drawn. The most important thing three main characters is that every one of them might be viewed as illustration of the "Generation X" world view.
Zed, film's nominal protagonist, brilliantly played by Eric Stoltz, is one of the examples. He adapted his entire world view to the ideals of instant self-gratification - he probably considers himself a "nice guy" despite unapologetically taking the services of prostitutes (and justifying this with the idea that the sexual liaison based on money is the only true form of sexual relationship between individuals). He considers himself professional and abhors the un-professionalism of other criminals, yet his desire for instant self- gratification in form of money leads him to think of criminal career as something quite acceptable. Same could be said of Zoe. She is an art student who probably thinks of herself as some kind of intellectual, more worthy than the great unwashed masses. Yet that character doesn't mind using her own body to finance her studies. Stunningly beautiful Julie Delpy gives some depth to otherwise thankless role of a woman and rises above the cliches of "hooker with a heart of gold".
Finally, the moral relativism of "Generation X" finds its ultimate form in nihilism, best embodied in Eric, brilliantly portrayed by French actor Jean-Hugues Anglade. Avary makes this character the most interesting of them all - both the most tragic and the most frightening of them all. At the start of the film he often mentions his idealistic (leftist) past, while in the middle of the film, his revelation about HIV infection puts all of his action in frightening context – he not only lost his future because of his hedonistic and irresponsible lifestyle, but the lack of future also deprived him of morality. Since tomorrow doesn't exist, he is free to live for today, usually at the expense of his fellow man, and the lack of respect for the law or morals makes him and his cohorts into raving psychopaths. Anglade plays this role with such gusto that Stoltz and Delpy, despite all their efforts, always remain in the shadows.
Because of the graphic violence Killing Zoe is very disturbing film and as such it should be recommended only for those viewers who could handle such contents. Yet, the ideological subtext beneath this film is even more disturbing, making Killing Zoe, despite all of its flaws, into one of the most important films of 1990s.
RATING: 7/10 (+++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on November 25th 2002)
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