Review of Serie Noire (1979) by Mereie D — 18 May 2010

Like with so many other movies these days, I felt â??Série noireâ?? made me realize Iâ??ve grown up. Some ten years ago, I would have found such bizarre productions amusing, yet odd and unrealistic.

Now Iâ??m not so sure. Strange as the events portrayed may be, they can be like real life depending on the circumstances. And similarly, the main characterâ??s behaviour is less odd than it may seem.

â??Série noireâ?? also reminded me of Ken Loachâ??s work: grim everyday reality, with the expected tear, but with a (sardonic) laugh as well. It paints a pretty sad picture of the right hellhole life can turn into and the terrible things people do to hurt the feelings of others.

And despite all that, we come to the scary conclusion that we are amused. Add the usual French subtleties and some other stereotypical elements ((funny) fits of anger, pompously ridiculous superiors turning their subordinates into (amusing) schlemiel characters by condescending behaviour towards them) to that and youâ??ve got a great piece of entertainment.

There is more emphasis on atmospherics and characterization than on a speedy plot in â??Série noireâ??, though it must be said the plot is rock-solid as well, full of unexpected yet believable twists towards the end.

I can safely say I never realized Dewaere was such a magnificent actor. Needless to say, Marie Trintignant is great as well â?? amazing achievement for such a young actress. I loved the accurate depiction of â??la vie quotidienneâ?? in the suburbs of Paris (â??banlieuesâ??), messy houses (obviously containing destitute, unhappy inhabitants) and drab offices.

All this grimness and sadness is compensated in an ironic way by the use of cheerful music on the radio and Dewaereâ??s put-on salesmanâ??s act. Another plus: funny clownish acting (physical fights, etc.

) and side characters (Hellâ??s Angels and imbeciles like Tikides â?? priceless!). The film focuses on just a few characters, which makes it all the more clear-cut and to-the-point. This is obviously a product from the glory days of French cinema.