Review of La Haine (1995) by Saiad S — 16 Jan 2011

French cinema is heralded for being an undeniably massive influence on the New Hollywood movement that ushered in modern American cinema. The French New Wave, with its energetic style, unorthodox editing, and depictions of the less savory sides of life, injected American cinema with a new life and led to the birth of Scorsese, Coppola, Spielberg, and many of our greatest modern filmmakers.

How ironic then that with "La Haine", the influence seems to have come full circle. This is a French film, spoken in French and with heavy French sensibilities, but the attitude, style, music, and even tone is uniquely American.

One of the previous users who posted a review said this was "the second best film Spike Lee ever made", and the film certainly has that vibe and frenetic style to it. The plot of the film, like many of the American films of the 70's it seems to be emulating (Vincent Cassel's character even is introduced with his own take on Travis Bickle's speech in front of the mirror in Taxi Driver), is pretty loose, as it details a group of wannabe hoodlums who find a gun, and the trials and tribulations they encounter in France while the gun is in their possession.

Where the film succeeds is in its uncompromising view of its protagonists; they are vulgar, harsh young men, the type that would look at the Droogs in "Clockwork Orange" and aspire to be them, though you get the impression that if faced with the opportunity to perform the same anarchic behavior they wouldn't have the boldness to pull it off.

Leading the group is a young Vincent Cassel (you'll remember him as the perverse and predatory ballet instructor in "Black Swan"), delivering a wild eyed performance with a heavy measure of intensity and gives the entire group a sense of danger.

Cassel's career thrived after this, and it is easy to see why as it is a breakthrough role. It is also amusing to see how much the would be hoodlums obsess on American culture, much in the same way Americans obsess on French and Japanese culture.

It really begs to ask the question; are these cultures really at all better than one another, or is the mere fact that it is alien to our conventional way of life that makes them appealing? This is a terrific film, and if you are wanting to get into French cinema but still wish to have a dose of American flavor to not allow yourself to feel completely lost as you endeavor into this style of film, this is a perfect gateway picture.