Movie-theme way, Bob Marley’s song “Burnin’ and Lootin’”. On the soundtrack, we hear – in the conventionally full, La Haine begins with newsreel video footage, under the rapid-fire credits, of riotsīetween police and the people who live in this rundown banlieue. Of noise, music, and vocal growls or hisses.įew examples of this sound work. Impactful than the entire, harsh sensuality of the constant, modulating stream The words being uttered by the characters is less significant and less Reading the subtitles won’t help you with really hearing this film, either. Quite catc what’s materially going on in the soundreack. Has an immediate, visceral impact, which is why a lot of viewers won’t even Not a fussy kind of intricacy – rather, it Treatments of bits of music that matters. Here, it is the complete weave of voices, noise effects, and various Said: a film is 100% image and 100% sound (do the math!). As writer-director-musician Philip Brophy has often
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How it functions inside the movie itself!) but music is just one part of a total, Music (and maybe even to that music on a detachable, autonomous CD, rather than When reviewers say that, they are usually referring only to the Ken Loach, for instance – and the more purely movie-loving sector ofĬontemporary French cinema, such as the high-flying, anarchic poetry of Leos In a way, I think Kassovitz bridges the British cinema of social conscience – Possible way – is in itself a black comedy reminiscent of the suspense build-upĬombination of all these influences with the content of the film really sparks. You wait forever for that damn thing to go off in the least expected and worst Narrative set-up of this film – one of the three JDs gets a cop’s gun, and so (more or less) from the American films of John Cassavetes through to the Frenchįilms of Maurice Pialat or Cyril Collard’s extraordinary Savage Nights (1992), and then back to the American films of Nickīeing a hip, young rapper (as the French media like to portray him), KassovitzĪlso obligingly steals a few agonising, violent clinches from Quentin Tarantino movies. He uses freewheelingĪctor improvisations, caught in long, bumpy, mobile takes that have travelled Moves, kinetic editing and manic ticking clocks of Martin Scorsese. He is unafraid to convey his social themes by raidingĮvery one of this favourite cinematic styles. Social critique, however, and really brings it alive is a certain intenseĮmotional identification on the filmmaker’s part with the outlaw, smashing-outĮnergy of these fine young delinquent heroes and heroines.īy Matthieu Kassovitz it’s his second feature after the comedy romance of Métisse (aka Café au lait, 1993). Social conscience or social concern entirely absent what complicates the Jean-Claude Brisseau’s Sound and Fury (1988) and Patricia Mazuy’s Travolta et moi (1994), or (from Australia, inĪ more punk vein) Going Down (1983). I’m thinking ofĮdge (1979) with Matt Dillon, or startling French movies such as Jagged kind of teen movie – the JD (juvenile delinquent) film. Other words, they’re the kind of figures familiar from a particularly vivid and See them stealing, breaking into cars, barging in on people and places, looking Into the Paris centre and back again, over the course of a day and night. These three are on a headlong, everyday adventure: from their suburb Socially determined energies: adrenalin, wild humour, and a desperation not toīe bored. Pumped-up – pumped with rage and frustration, naturally, but also with less Very interested in just following Vinz, Hubert & Saïd around. This happens because we, and the film, get That, for long and captivating stretches, it’s easy to lose track of its Sense of dread, social breakdown and imminent urban apocalypse.
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Wright special ( Romper Stomper or Metal Skin ), playing on an all-pervasive I think this is true of La Haine even when it goes bombastic and fatalistic like a Geoffrey It’s more vibrant and messier than any simple sociological schema –Īnd, in an intriguing way, resistant, rousing and life-affirming preciselyīecause of that chaos factor. This is not – I am very glad to report – a neat social-issue movie withĮmblematic characters, clearly marked conflicts, and wish-fulfilment Groupings in angry alliance against the police “pigs”.
There are three main characters – Vinz (Vincent Cassel), Hubert (Hubert Koundé)Īnd Saïd (Saïd Taghmaoui) – three youths who stand for these various social Multi-ethnic, mixing Jewish, Arabic and Algerian communities (among others). Suburban centre of France – a banlieue in the commune of Chanteloup-les-Vignes. Violent conflicts between police and the community in a horrid, rundown, Provocative energy, veering consistently between tasteless, vulgar glee and a Is a very compelling drama, remarkable on many levels.
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