Two 'Train's pass in the night

Everyone surely wishes they were someone else at some point. In a world where no one is easily satisfied, maybe you could imagine yourself inhabiting someone else's existence. Maybe you would just want to do this for a day or so to see what it's like. Maybe you would like to make it permanent.\n Patrice Leconte's "The Man on the Train" is about that sort of identity switch. Consider it a French "Freaky Friday." Comparatively speaking, this one has many fewer story and special effects devices and many more moments of reflection and unusual inspiration.\n In order to enjoy "The Man on the Train," one needs to enjoy character studies because there isn't much plot. What plot developments there are don't unravel until the final ten minutes.\n Instead, "The Man on the Train" shows the evolving relationship between two highly unlikely friends. Manesquier (Jean Rochefort) is depressed, lonely and chatty, especially if someone's in the room to hear him. A retired teacher, Manesquier now tutors out of his home. Facing an upcoming triple bypass procedure, he's fighting fear and his own mortality.\n Milan (Johnny Hallyday) is younger, dashing and not nearly as loquacious as Manesquier. A professional bank robber, he's grizzled and tired.\n In town for a heist (probably his last, but the film doesn't say), he needs a place to stay. He runs into Manesquier at a pharmacy, and the unwitting Manesquier agrees to provide him shelter for a few days until the planned robbery.\n Manesquier eventually figures out what Milan's up to, but instead of raising his indignation, it only goes to raise his curiosity. His life is dullsville. Meanwhile, Milan appreciates his homespun personality, and he appreciates the stress with which Manesquier's dealing acutely.\n While the film profiles the dichotomy in their personalities distinctly, its entertainment value is drawn in humor. The film has a dark, dry wit about it, especially when Manesquier acts out some Walter Mittyesque daydreams about robbing a bank himself. The cinematography supports the mood of the story with grayish, monochromatic undersaturation.\n Rochefort excels at slightly subverting typical French stereotypes. Hallyday, still charismatic more than 35 years after becoming France's biggest rock star, says a lot in just one droop of his eyelids.\n His feelings kept a bit more secret, the filmgoer wonders about his future. But before he can change, he has to honor previous commitments. After all, decent men honor their plans, and plans contain our fate.