Lulu

 (Drama -- Color -- Canadian)

By LEONARD KLADY

An Alliance film release of a Divani Films production. Produced by Robert Bergman, Srinivas Krishna. Directed by Srinivas Krishna. Screenplay, Krishna, Robert Armstrong.
 
Khuyen (Lulu) - Kim Lieu
Clive Barrett - Clark Johnson
Steven (Lucky) Barrett - Michael Rhoades
Miguel - Manual Aranguiz
Arthur Dunkel - Peter Breck
Kingsley - Saaed Jaffrey
Lulu's father - Nghi Do
Lulu's mother - Phuong-Dan Nguyen
Romeo - Richard Chevolleau

 

One can't criticize the Canadian pic "Lulu" for lack of ambition. But Srinivas Krishna's second feature is awash in ideas that largely stop short of resolution. It's arty stuff that's destined to daunt its target audience and is unlikely to move beyond the fest circuit to more than spotty specialized engagements.

The story's focus is Khuyen (Kim Lieu), a young Vietnamese woman who, through a marriage of convenience, was able to leave her homeland with her family. The besotted groom is a petty criminal ironically known as Lucky (Michael Rhoades).

He's the one who tagged her with the name Lulu.

Though the moniker and ambience recall the screen's most famous Lulu -- Louise Brooks of "Pandora's Box"-- the modern-day incarnation is less siren than simply bad-luck charm. Her parents, both in failing health, blame her for their lot in Canada; Lucky appears on a self-destructive course, blinded by love, and Clive (Clark Johnson), Lucky's younger brother, is hellbent on breaking up his family in pursuit of the woman.

To complicate matters, Kingsley (Saaed Jaffrey), the local crime boss who employs Lucky, has banished Clive. The younger brother throws in his lot with Dunkel (Peter Breck), an unsavory dealer in human body parts, and hatches a scheme to get even.

Through it all, Lulu remains impassive, and this singular lack of emotion essentially undoes the drama. The material, scripted by Krishna and Robert Armstrong, is sorely in need of focus.

Against Lieu's sang-froid stance, most of the other roles are played at a hysterical pitch. The contrast between an enigmatic, often allegorical tale and the overblown performances further erodes the film. Shot mostly in a high-gloss modern noirish style, "Lulu's" best qualities are its look and the haunting score by Leslie Winston. Otherwise, it remains the curious guilty pleasure of some fest programmer.

Camera (Fujicolor), Paul Sarossy; editor, Mike Munn; music, Leslie Winston; production design, Tamara Deverell; art direction, Peter Cosco; costume design, Aline Gilmore; sound (Dolby), Ross Redfern; assistant director, Rico Gerussi; casting, Clare Walker. Reviewed at Cannes Film Festival (Un Certain Regard), May 10, 1996. Running time: 90 min.