underneath his anger and apparent aggression he is still shocked by violence, when For 25 years since La Haine came, it seems as if the fall has been continuing and the definitive landing has still not happened, or rather that we get the fall, the landing, then another fall. But La Haine was not dry sermonising, it was a proper coup de cinma. They have an Covering 24 hours in the life of three men from immigrant families one black, one Arab, and one Jewish it stands as an indictment of the worst aspects of French, and more broadly Western, democratic society. Unlike hisbeurand black friends,heis able to pass as white, thus escaping the police brutality that is directed against non-white minorities in the film. Meanwhile Swedish director Gabriela Pichlers 2018 filmAmateursreferences it even more overtly: Pichler told me she was directly inspired by scenes from Kassovitzs film like the one with the TV team visiting the suburbs filming the three guys and how the reaction looked from the TV-camera POV. The film tells the story of a small town that has employed marketers to make a promotional video to encourage a German discount supermarket to open up shop. We also get your email address to automatically create an account for you in our website. Siad being shown in the middle of the frame, and constantly being the one bringing the two TVTropes is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. shown by the constant use of face off shots between characters, these are The use of a multicultural minority cast allows for the film to address certain harmful stereotypes. It was a not-so-heavily disguised slur against a generation of young, working-class people of colour who were perceived by the white middle-classes as natural born criminals. cultures of Paris between the city and the surrounding districts as it is a very obvious effect Brandos Strabler is the leader of a motorcycle gang riding through California. Interestingly, both La nouvelle vague and La haine drew inspiration from the same source; American cinema. Mathieu Kossovitz's La Haine made an immediate mark when released in 1995. Rarely has one seen such a graphic and brutal representation of Jewish and diaspora working class life in Western European film. He in turn complained about a media unable to connect with the deeper issues. into the psyche of young people from Vinz. However, like the other characters, he is caught up in poverty, drugs and has no Its the last call for our society. However, he also serves to show us the obstacles that. In his way, Kassovitz's films reverse preconceived notions of Jewishness as Kassovitz refuses to . Although the framing of shots is important in any film production, it seems to be of key stereotypes clearly, but to search for truth - not everyone in the banlieue can be put into a box claustrophobia. in the characters home area could be said to be used to show the power that they hold over Their friend laments the senseless destruction of his car, and Hubert suffers the loss of the boxing gym, but nothing is resolved. When he was gambling, he was winning every time. I teach film studies at Bangor University in north Wales where I live. it's inhabitants dealing with obstacles from within and without. In the same way, the Molotov cocktail landing on planet Earth in La Haine still resonates as a symbolic provocation that the only way to create lasting positive change is to wipe out what has gone before and start again from scratch. Vinzcan only exercisehis power in private and in his imagination, emphasized by his inability to use the real gun. All rights reserved. certain few there to appreciate them. audience, as well as myself. La Haine, which premiered 25 years ago this week, asked the right questions. Another trait lifted from American cinema of the era is the films life in a day structure also seen in features such as Spike Lees Do the Right Thing and Kevin Smiths Clerks (another black and white film coincidently); both films that deal with issues of racial tension and adolescent ennui, respectively. The intention of the film is to portray the breaking point of a flawed system; an ultimate destination if things continue along their current trajectory. soon as they reach Paris there are many more shots using shallow focus to show that they are Is Said's response the correct one or necessity for survival in La Banlieue. All rights reserved. The first French banlieue (outer-city) film to receive any serious media attention, it essentially created a new genre in French cinema, and widened the scope of characters represented on screen to the countrys immigrant underclass. Its stayed in the memory of a whole generation and carried on circulating. It spearheaded a first, largely forgotten, wave of banlieue films, including Ra and Hxagone, that opened the door for the genre to flourish and legitimised French ghetto culture. It wasnt quite the first film to reckon with urban deprivation in Frances multicultural ghettos: that honour possibly goes to Mehdi Charefs 1985 film Le Th Au Harem DArchimde. 4. Les personnages sont assez improbables, Ils sont choisi pour donner au film une dimension universelle, on a une impression d'espace: les jeunes sont dehors (A Paris, ils sont dans des lieux ferms, Paris est prsent comme un monde hostile: l'interrogatoire VS Samir qui aide les jeunes. Rather, they are just modern cowboys lone rangers who are not symbols of rebellion in any meaningful sense, but instead paragons of self-indulgent individualism. Reread lines from the text. he wants to participate in the conflict with the police on the roof top, but is stopped by his What does this say about society's Indeed, the success and influence of the film has been so great that since La Haine, the on-screen rebel has been redefined. the audience understands the use of these techniques, even if only in these circumstances, La Haine critiques the objectification and the production of damaging stereotypes about the banlieue by giving back agency to its characters to tell their own story and using its narrative style . behaviour. other characters this show just how important the gun is to the characters and how their life Since Mathieu Kassovitz's debut first screened there's arguably not been another French film that has had as significant an impact. The effervescent energy of this film keeps foaming away under everything; especially under its most amazing sequence: as one guy blasts out music from his decks at the high window of a tower block, Pierre Ams camera ethereally floats out over the rooftops looking down, a moment that departs from the tense mood of the scenes either side of it and has surely influenced the drone camerawork of Ladj Lys new banlieue film Les Misrables. Rebellion was no longer about personal freedom but about overthrowing the power elites. Either people are going to say: We cant go back to living like that. Or theyre going to go back to that. The documentation of their unique experience in what is essentially their country as much as it is any other French citizens is a crucial element in the film as they face adversity not only from police but from the manipulative media and far-right thugs as well. La Haine is a movie that is showing us another face of Paris from a very realistic perspective. It is also one of the more unusual if not one of the best Jewish movies of the last quarter of a century. brother who is an authority figure. Is this the reason, we ask, why he does not take part in Make sure you read carefully and answer all parts of the questions. divided nature of French society. In the land that gave us champagne, La Haine is a Molotov cocktail. It's a movie that sets fire to the comfortable middle-class outings of much French cinema, turning the gaze beyond the Priphrique ring road to the Parisian . He's the most violent of the trio, even though he is a Nice Guy deep down. For instance, Hubert is a reformed character who is desperate to escape the Vinz also believes that they gun will those from the urban areas around, however due to the use of these film techniques it became Kassovitz, meanwhile, has juggled acting and directing including a pair of Hollywood features and an unlikely swerve into heartthrob territory when he co-starred in Amlie. In France, an almost immediate successor to La haines gritty social consciousness and hip-hop aesthetic was the film Ma 6-T va crack-er (Ma cit va craquer), released in 1997. In Hollywoods post-war fixation on white macho rebels, meanwhile, there was little acknowledgement of the sweeping cultural changes that saw women become an essential component of the workforce and African-Americans who had fought alongside their white fellows in World War Two demand the same equality at home. Fifty horrible years., La Haine will be rereleased by the BFI later this year, The Guide: Staying In sign up for our home entertainment tips, Original reporting and incisive analysis, direct from the Guardian every morning, 2023 Guardian News & Media Limited or its affiliated companies. . Please donate, any amount will help! Not to reinforce This could be a procedural about the French police force's endless crusade against crime in the suburbs around Paris. American Influence on the Film and Culture. officer who is sympathetic to the situation in La Banlieue and shows respect to the teenagers, and packaged for the media and the rest of society. Even though the 90% of the characters portrayed are men, women and their role forms an From the very beginning, in its depiction of its central trio, La Haine references famous rebels from cinema past. Theres a gallery of well-known and (then) up-and-coming French actors in smaller roles: Vincent Lindon is a drunk bloke who turns up just as the trio is trying to steal a car; Philippe Nahon (who worked on Melvilles classic policiers and later became the totemic Butcher in Gaspar Nos movies) is the grizzled police chief who tries to break up a rooftop barbecue, Karin Viard is a Parisian art-lover a rare female presence and Kassovitz himself has a cameo as a neo-Nazi skinhead. difficult to imagine that there could be a clear separation between Parisians from the city to No longer are the great screen rebels macho white males but instead they are women, immigrants, or homosexuals, all fighting the white male supremacy with which the old rebels were complicit. Kassovitz isnt optimistic about a politician or a single film rectifying the underlying social conditions any time soon. From this point onwards it is Siad out of the three characters who is in the middle. their own surroundings and that their future will always be set out there contrasting to in the The Black Lives Matter movement this summer led calls to defund the police, which was not a literal demand about eliminating police departments but a call for a radical overhaul in policing. Far and wide, indeed, La Haine kickstarted a global wave of generational protest cinema. AsVinzleaves,Astrixsdemonstrates how he surreptitiously neuteredVinzsweapon, publicly reinforcingVinzsinferiority and feelings of humiliation and defeat, compounded by the waiting policemen on the street outside. But he has struggled to bring his militant convictions to the screen with the same force. is due to how each of the characters are framed and shown in the centre of the frame between They are subject to prejudice and discrimination simply because of ethnic stereotypes. Its a creation, so you have to have a point of view.. Although nowhere explicitly identified as Jewish, for the culturally-aware spectator able to recognize the codes, it further reinforces the Jewishness of thespacefrom whichVinzis excluded. And fuck them, if they want to go to the slaughterhouse without doing anything. As in his most celebrated work, he sets the countdown. In this BUNDLE: 4 model essays and model plans on the movie La Haine + writing practice activities lot4 questions: (AQA summer 2017) -Examinez la representation de la police dans ce film -Examinez jusqu'a quel point les trois personnages principaux sont des personnages ralistes ou des stereotypes Lot 5 questions . Astrixthen challengesVinzto a game of Russian roulette andVinzis found wanting in this respect as he loses his nerve. It was a couple of weeks after the murder of George Floyd in May that I was contacted by the British Film Institute asking if I wanted to programme a season of films around the film, to mark its 25th anniversary. way of highlighting the underlying themes of the film. I was in my car, not too far away, when I heard about it on the radio, so I parked and went to join in with the protests. It seems at times their existence in these ghettos is so nihilistic that the characters are merely passing the time until they themselves ultimately succumb to either their own environment or a provoked police officer. Its only after this unapologetically biased beginning that were introduced to the three protagonists whose perspective on the world is about to seduce us. It also serves to After this episode, we seperate Vinz these micro elements can influence the audience and have such am impact on the way we addition, we don't see many of the characters going to work, or occupying their time It has the power of a character and. On his way past each floor he says to himself, so far, so good, but what's important isnt the fall, it's how you land.) In a dazzling visual effect, the Earth goes up in flames. Au moins 16 personnes ont t tues tt ce matin dans une nouvelle vague de frappes russes sur plusieurs villes en Ukraine. which is used to disorientate the audience and make them aware of the changes in The police in Paris are exposed to be hypocrites. There is also a very shrewd and disturbing scene in which two cops school a younger colleague in violent interrogation and the art of not going too far. Shown being stereotypically "women" At home, doing chores (e.g. La Haine radically moved its conception of rebellion far away from the Hollywood stereotype, created in the 1950s and 1960s From the very beginning, in its depiction of its central trio, La Haine . Conventions and Codes of Horror Film Posters, 10 things i hate about you opening sequence analysis, Film terms and techniques, shots and angles part 2, Conventions of psychological thriller posters, Opening analysis of this is england Luke O'Donnell, Why are some media products considered postmodern. However, Sad is probably the most harmless, naive member of the trio; whereas Hubert is the most devotedly pacifist, with a clear moral code. That is because for a long time cinema hoodwinked audiences into believing rebellion was about asserting ones independence with a stylish look and lots of attitude. When La Haine premiered at the Cannes Film Festival in 1995, it made an immediate impact. The Franco-Algerians, Franco-Africans felt themselves represented and that they mattered., Its director, though, admits La Haine was not solely targeted at the banlieues, but also at a middle-class audience apt to be seduced by its poetic realism: I wasnt talking to the guys from the projects I was talking about the guys from the projects. He brushes off those cit residents who felt misrepresented by the films focus on the seamy side of life there: Fuck those guys who didnt like it. Cline Sciamma: My films are always about a few days out of the world, Petite Maman review Cline Sciamma's spellbinding ghost story, Portrait of a Lady on Fire review mesmerised by the female gaze, Like a natural woman: how the female gaze is finally bringing real life to the screen, Cline Sciamma: 'InFrance, they dont find the film hot. However, as is so often the case with the greatest films, La Haine only seems to get even better with each passing year. If youre part of a riot, they will kick your ass. Haine susceptible to the anti-social elements around him. Nothing unusual there, until a Molotov cocktail flies towards our planet and an as yet unidentified voiceover provides an anecdote. clear that it was more than just a small problem in this society. La Haine had a huge impact on French society leading newspapers to discuss poverty in the outer cities and provoking politicians from President Jacques Chirac to National Front leader Jean-Marie Le Pen to reference it but it also changed cinema. Je suis mue et je te haine. For instance, it is used to track the of its other film techniques. In terms of the cast, the three protagonists are all minority groups in French society. The police's raids are unnecessary When you login first time using a Social Login button, we collect your account public profile information shared by Social Login provider, based on your privacy settings. cases even severe. Hes just a prototype libertarian. It is the night after an uprising that started when a young Arab man was put into a coma by the police. window.ramp.addTag("pwDeskMedRectAtf"); (B) in a gorilla costume. Its a film about which Ive had fluctuating views. Maybe its also the return of a direct political rallying cry from a genre whose recent advances have been in terms of who is represented on screen. Police corruption and brutality is another controversial topic the film refuses to shy away from. Iconic rebels for the late 20th Century, they became a template for how to depict rebellious characters to a whole new generation of filmmakers around the world. Les Misrables is very overtly the offspring of La Haine in that it tells a similar story of social unrest in the Paris banlieues, only this time from the perspective of three policemen who are, like La Haines central trio, from a diverse range of ethnic backgrounds. You know how its going to end: badly. of ethnic minority groups, racism, crime, the relationship between young people and the What should the role of the media be then? Yet whats interesting and so disturbing about the film is that, in his own perverse way, Bickle has the kind of social conscience that the likes of Johnny Strabler and Jim Stark lack: he is troubled by life in New York and what he sees as the depravity and filth of a lawless society, and so decides to take the law into his own hands. In a dream sequencehebreak-dances toklezmermusic, coding the clash between his Jewish and street identities. Filmgoers have always been thrilled by characters who break societys rules. characters are in their home surroundings most of the shots are in wide depth of field in order La Haine is in cinemas from 11 September. It Kassovitz started writing his script the same day as that shooting: 24 hours in the life of a black-blanc-beur (black-white-Arab) tricolour of wideboys living on a Paris sink estate. Rewatching the film, what marks Said, Hubert and Vinz out as the purest form of rebels is that they are not attempting to simply escape a system, but rather fundamentally challenge it: they see tackling it head on as their only means of survival. When the window.ramp.que.push(function () { exploration of such important themes within the society and these have been effectively . The essay is answering the question: "Examinez le personnage de Vinz dans La Haine et . of home life. That revolt wasnt necessary because wed lost before wed begun. He has no intention of participating in the riots, Show abstract. Innocence and Violence in the Slums of La Haine One of the more striking aspects of the "hood" or banlieue film, La Haine (literally, "the hate"), is the choice of protagonists. With the caveat that my selections had to be available for digital projection because of coronavirus rules, I was given carte blanche to program the season how I wanted. He and the pure French drug dealer, as implied by his Gallic name,Astrix,compare guns hidden deep inside their trousers. Trapped by their surroundings, their existence is reduced to loitering, drug deals and reckless thrill-seeking. of the bigger picture and we see how his views and actions are senseless and short These interactions are the origins of stereotypes. On one side theres a cottage industry of action flicks and comedies, such as the Banlieue 13 franchise and Neuilly Sa Mre! It had touched a raw nerve, something beyond even police violence: the vast gulf of incomprehension between these concrete bastions packed with the neglected immigrant community and white mainstream France; the sense both parties were ignoring a burning fuse, telling themselves as per the films famous motto: Jusquici tout va bien. (So far so good ), The outraged reaction to the film showed it had hit home. Fuck them! He concludes: You know which people arent part of the gilets jaunes? As he falls, he repeats over and over to reassure himself: So far so good, so far so good, so far so good. But its not the fall thats important its the landing. constructively, apart from Hubert's sister and the 'fence' who views his occupation as communicated via the micro elements. We said to ourselves: what are we supposed to do? She sees more hope in Les Misrables, which despite a shared air of fatalism, ends on an open question. Hubert (Hubert Kound) is captured hitting a punchbag in the remains of a gym that was burned to the ground. It was our life, but larger than life. another key theme within La Haine Fraternity, one of the words from the French motto He has no respect Set in the . The choices he makes are rational and force K reste assez superficiel: il n'explique pas les . Taxi Driver's deranged Vietnam war veteran Travis Bickle is a truly alienated misfit who has never been able to be marketed as cool (Credit: Alamy), The same is true of the biker anti-heroes of Easy Rider. It won best director at Cannes in 1995, but the police believing it to be a polemic against them turned their backs on the team when providing a ceremonial guard at the festival. themes it represents. Ultimately, after coming to terms with his inability to take a life, it is Vinz himself who is killed by police in a careless accident. We engage in this behavior constantly in order to construct these favorable outcomes specifically in terms of race, class, and gender. et il encourage les participants lutter contre leurs propres a priori et leurs prjugs et strotypes ngatifs. where male role models are in scarce supply. discussed (including editing and close up shots) add to the impact that the film has on an ven the wrong question points to the truth. Its more a case of So far, so bad so far, so bad La Haine is an unmissable response to an unending emergency. By Jose Solis / 27 June 2012. Lot2 : -'Le titre du film La Haine est bien choisi car il reflte exactement le thme principal du film'. I research, write and broadcast regularly (in Welsh and English) on transatlantic Jewish culture and history. They asked me questions where I said: Dont ask me that, go to the projects and talk to the guys there. But they didnt want to talk to them.. Even after his able to cross this social divide. In a cafe, where Johnny has been knocked back in his advances by the policemans daughter, hes asked by her friend Mildred, What are you rebelling against, Johnny? to which he replies, Whaddaya got? Heres the rub: Johnnys idea of rebellion is an empty grab for power, an attempt to assert himself as the centre of his society, not to further or overthrow it. However, the young officer at the Permissions beyond the scope of this license may be available from thestaff@tvtropes.org. The wide depth of field used The characters ended up taking the actors first names: Vinz (Vincent Cassel), the Jewish hothead who, after a riot, finds a cops Smith & Wesson and vows to take revenge for the latest police beating; Hubert (Kound), the ruminative black boxer and small-time dealer who tries to get his friend to drop the bluster; Sad (Taghmaoui), the Arab joker who mediates between them. Vinz is the angry young man The stories of Makome M'Bowole and Malik Oussekine, victims of police . While the band of cinphiles that pioneered the French New Wave found immense artistic value in the auteur cinema of the likes of Howard Hawks and Nicholas Ray, Kassovitz visibly borrows and pays homage to tropes of New Hollywood cinemamost notably Martin Scorseses Mean Streetsand contemporary hip-hop culture of 1970s and 1980s America. but isn't affected by it either and, unlike Hubert, takes no moral standpoint. True grit La Haine stars (from left) Sad Taghmaoui, Hubert Kound and Vincent Cassel. The Redefining Rebellion season runs at the BFI, London throughout September. In the 1980s, the US embraced Reagan and corporatism and cinema followed suit, quickly forgetting about the rebellious steps made by New Hollywood and instead travelling in the opposite direction, venerating the puffed-up white male action hero pursuing jingoistic goals. He has no sense, unlike Hubert, Only appears in the scene on the roof but represents certain key ideas of the film, A policeman BUT from the cite (straddles both worlds and encapsulates the two sides), The banlieusard who is injured in the riots but never appears on screen in person, Plain-clothes officer (wearing a Notre-Dame varsity jacket), Les journalistes et les habitants de la cite, Journalists show the relationship between the media and the cite. city where they obviously dont belong and so cannot see further into the future in the city. James Dean as Jim Stark in Rebel Without a Cause remains one of Hollywoods most iconic screen rebels (Credit: Alamy). It was our life, but larger than life: how La Haine lit a fire under French society. The narcissistic conception of rebellion embodied by the likes of Dean and Brando stands in contrast to the more moral framing of it as an act of resistance against an established government or leader a framing that goes back cinematically to Sergei Eisensteins 1925 classic silent film Battleship Potemkin, which depicts a mutiny that took place in 1905 on an Imperial Russian battleship. The terrain has inspired a whole genre of so-called 'banlieue cinema', the most famous and formative of which is La Haine (1995). Questions are: Lot1 : -Expliquez l'intrigue dans La Haine et la position des personnages principaux par rapport l'intrigue. And what an introduction it is. He is the only one of the three main characters who has prospects. La haine remains a renowned and significant example of modern French film, primarily for two related reasons: Firstly because it manages to perfectly capture the state of contemporary French cinema, whilst secondly expertly portraying the state of contemporary French society. Police slip-ups still occur with depressing regularity, and riots still break out, most notably in the nationwide 2005 unrest.
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