69) La Haine
Director: Mathieu Kassovitz
Year: 1995
Plot Summary: Vinz, Said and Hubert live in a French suburb where the racist and oppressive police force have raised tensions to a critical breaking point. The night before, a young friend of Vinz's, Abdel, was beaten during an interrorgation by police officers and is in the hospital in critical condition. In the ensuing riots, a police officer lost his handgun, only to leave it for Vinz to find. Now, with a new found means to gain the respect he deserves, Vinz vows to kill a cop if Adbel dies in hospital.
La Haine is near perfection.
First of all, the film proves cinema's ability to expose a way of life that many people would previously have been unaware of. La Haine was one of the very first French films to be set in the ghettos and, therefore, brought to light the suffering that those living there endure. While many of the French bourgeois were unaware of the police brutality, the poverty and the lack of money and education that were day-to-day things in these areas of the country, La Haine forced people to open their eyes. But, also, it gave people an insight into their everyday lives: The culture, the music, the language, the lifestyle and how they relate to one another.
Secondly, it also debunks the myth that there's nothing new under the sun in cinema. For France, La Haine was a movie that paved the way for an entire new genre of films. After all, while Britain has had a long history of stories like this, from the 60s kitchen sink drama Saturday Night And Sunday Morning to last years brilliant Fish Tank, La Haine was one of the first movies that the working class of France were able to emotionally connect to. In fact, many people from the suburbs who had never been to a cinema before flocked into the cities to see Kassovitz's movie. Which, I suppose, is my third point: It's one of those rare pieces of filmmaking that truly grabbed audiences and affected their lives.
But moreover, as well as shaking up the industry and the audiences who witnessed it, the storytelling is incredible. It's set over 24 hours and, like the Mike Leigh movie Naked I reviewed yesterday, focusses less on plot development and more on providing an insight into a day in the life of these three boys. However, while Naked had unlikable characters and remained fairly cold and emotionless, you care about all three of the main players here and everything they do is riveting.
Vinz's time-bomb, vengeful, angry personality is impossible to look away from. Hubert's quest to escape the life he's lived is very powerful. And how Said, who appears to be the youngest of the gang, is shaped by his two friends over the course of the narrative - he is forced to choose whether he wants to follow Vinz's violent lifestyle and rebel against his way of life or choose to follow Hubert's lifestyle and find an escape - is utterly engrossing.
Moreover, knowing the kind of violence that people like Said, Vinz and Hubert face and the ever more likely possibility of this escalating as you continue to watch, La Haine has a constant sense of foreboding and is nail-bittingly tense throughout despite the loose plot.
Yet, above all, La Haine is a lesson in film-making. Within every shot there is meaning to be found. From the sweeping shots over the suburbs, filmed on a remote control helicopter, which portray a claustrophobic, prison like setting. The incredible use of sound helps create the sense of community. The use of graffiti and billboards to explore the inner turmoils of the characters. Or even the use of black and white that helps to present both the racial tensions which are apparent throughout La Haine and also give the ghetto a gritty, dilapidated look.
Despite its low-budget, it's as breathtakingly shot a movie as you are likely to find.
An innovative and important work of cinema - or, perhaps, a work of art - and one that is stunningly filmed, expertly written, features some amazing performances and provides a brutal insight into the lives of those living in the French suburbs.
La Haine is one of the finest French films of all time.
5/5
7 comments:
Damn, D, you just watched two of the best films of all-time and you don't even know it. I first saw La Haine in February 2007 and it's been in my top 5 ever since (#1 at first, and is at #2 at the moment). And you pretty much nailed it; if you said gun to my head, sum up why you love it, it's a lesson in perfect filmmaking. Can't remember if I put it in the review I'll post now, but it's an odd case of escapism for me, as I don't relate (physically, emotionally I do) to any of the characters or environment, yet it feels so genuine. It's essentially a demonstration on what film is for.
Here's my review from almost exactly 3 years ago:
In the mid-90s, Mathieu Kassovitz wrote and directed a film that showed the controversial truth; "La Haine", which translates to "Hate", a film deemed so important the then-prime minister Alain Juppé arranged a special screening and ordered his entire cabinet to watch the film. Kassovitz rightfully won the Best Director award at the Cannes festival for his film that had and still has a huge impact on French society. La Haine mixes ethnics to emphasise the overriding importance of solidarity against the police. It is, in my opinion, one of the greatest films ever made. A cinematic phenomenon so close to my heart. It's the day after the riots on an underclass French estate (the film opens with real footage of riots with the suitable soundtrack of Bob Marley's Burnin' and Lootin'). A youth named Abdel had been caught and beaten by the police and is now in critical condition. One of his very best friends, Vinz (Jewish), had found a cop’s weapon. He swears that if Abdel dies he will kill a cop. The majority of the film revolves around Vinz and his two other friends Hubert (Afro-Caribbean) and Saïd (North African) roaming around their ghetto and suburbs of Paris. Set just within 24 hours, this is just a glimpse of the chaos.
cont.
There is an image in La Haine where Vinz (Vincent Cassel) imitates Travis Bickle (protagonist of Scorsese’s Taxi Driver) in the mirror; "You talkin' to me?" and then points his fingers like a gun and fires. This is not an action he only does once as he repeats it twice during the film. But why? He has a gun. Is this preparation? Yes. Vinz has to prepare because he is scared. And he has to see what it looks like, to make sure it looks "cool", as when he does kill a cop, he will get an undeserved respect by his peers. There is another scene in which Vinz and Hubert bump into a cop while trying to run from them. Vinz' first instinct is to pull the gun on him, this shows that the first instinct has now become violence. The reaction to violence is fear (which is apparent in the cops face until Hubert knocks him out). Fear creates hate; or, the thought and idea of hate. Like the youths feel they are supposed to hate the cops. Vinz is the angriest central character, but when he had his chance, he hesitates; consequences are not forgotten. Cassel performs Vinz with brute force, not failing to portray his character for a second. Hubert (Hubert Koundé), the most subtle character in the film, remains quiet and gentle, although he is a boxer; or a fighter; for the majority of the film. He has a longing to escape. He has no idea who to trust. Everyone is a thug, or everyone is accused of being a thug. This is the stereotype that has been created. But not even a thug wants this thought about them. He is always watching the hatred breed around him but never takes part. But when it comes to the cut, the action and reaction is always the same and he proves himself wrong. Koundé put a lot of effort into his role and earns his praise. Saïd (Saïd Taghmaoui); possibly the most vibrant character of the three, feels as if he has to be something, he hates change but he follows the crowd, he wants to be accepted, he wants to be the one to pull the group together. He appears to be everybody’s friend as he constantly makes jokes. This is because his family is dead or in prison so Vinz and Hubert; and possibly Abdel but we don’t know since we only ever hear about Abdel, are basically his family. But if they get into trouble they wouldn’t hesitate to leave each other. It’s every man for himself. Cassel, Koundé and Taghmaoui work so well together its as if they have known each other for years.
cont. 2
above was repost because this is a retard.
The youths are stuck on the idea that the cops are there to stop them, and they refuse the idea that the cops are there in fact to protect them. And the youths express hatred with violence. Sexual intercourse is not an issue in this society as it is too dangerous to have a girlfriend, as it will spawn more violence, thus more hatred. For a film that is so anti-police it manages to show the content in an unbiased way. La Haine does not offer solutions to all the racism but in fact, shows you in a detailed and mature manner. Starkly shot in black and white; La Haine has one of my favourite cinematography works. Kassovitz directional style is so inspirational, using rocketing zooms and smooth swerves to get the full view of the destruction. Popular hip hop music is used and heard throughout the film, none of it I would listen to unless I was watching La Haine. The film shows a side of France you can not find on a tourist map. Passion, dedication and effort was well put forward to La Haine. It punches you in the face with its sheer, raw intensity.
I could not choose a favourite scene, I could not choose a favourite character. But if I had to choose a favourite film? Without a doubt, La Haine would be among my choices. La Haine shows a truth in an effective and affective way and being incredibly entertaining at the same time. The shocking ending blows me to the back of the room every time (for its expert delivery). I love everything about the film. La Haine doesn't remind me of myself, it reminds me of what I see every day. It's a gorgeous film despite its topic. The films most important quote is the one it opens and shuts with: - "Heard about the guy who fell off a skyscraper? On his way down past each floor, he kept saying to reassure himself: So far so good... so far so good... so far so good. How you fall doesn't matter. It's how you land!". This directly reflects the films content, structure and result. La Haine proves that hatred is in fact the strongest emotion. One of the greatest films of the 90s and of all-time; if there was one perfect film; it would be La Haine.
Maybe the fact I can talk about this film more than Synecdoche shows that I love it more.... I ALWAYS HAVE THIS FREAKIN' DIFFICULTY! I got this with Jesse James. I could never review it. Yet I could Dog Day Afternoon, so I put that on top. All That Jazz is another one of my tier infinity I can't describe. Adaptation is almost one too. Bah. I don't know. Hope I have a few points in here.
Wooow. That's an amazing review. It certainly puts my effort above to shame. :P Haha.
You're right about what you said in the last paragraph: No matter how much you love the film and you know why, it's just one of those movies you can't express with words. Like Synecdoche, I literally sat down at my macbook and thought "...Shit. Where the hell do I start?" I must have wrote this review like 6 times before submitting it. :P
I'm glad you feel exactly the same way I do about it. Like you said, it's not only an important film but one that is so powerful and well-made. :) I already want to go and watch it again with those things you have said in mind! There's a lot that you've talked about there that I didn't quite catch. :)
Haha, yeah, I'm convincing when I know my shit.
Oh, were they your first viewings of La Haine and Naked? I said you should say when they're rewatches or not! ;)
Plus it should totally be a top 50 film, dudey.
Ahhhh, I keep forgetting to mention that. :(
I have done on a few of them. :)
2nd watch of La Haine.
First time I thought it was great. Now I think it's amazing.
1st watch of Naked. :)
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