Wow.
This is a powerful and heartbreaking Fuck Around and Find Out story. The finding out, unfortunately, was probably a bit disproportional.
Anyway, this seems to be on everyone’s list of favorites, and it’s pretty early Vincent Cassel, a guy I really have enjoyed for years, notably in Jason Bourne and the television series Liaison.
Cassel’s Vinz becomes increasingly unhinged throughout the movie. The obvious frustration with their living situation, and by extension their political one, is understandable. The ability to protest in the manner they are is a sign of the times, for sure. That could simply not happen like that in America. Our cops would roll out tanks and never retreat. People would be dead. Thinking about that as I watched made me feel like I was getting more unhinged. While uncomfortable, I am beginning to identify with Vinz myself.
That’s why I empathize. It was hard not to see myself, as much of a fantasy as it is, in their shoes. It’s driven by anger, particularly at a system that sucks. It’s meant to brutalize some or many, if not all of us. We should hate it, and we should have anger.
The relative lack of passionate anger by Hubert (Hubert Koundé) and Saïd (Saïd Taghmaoui) makes me wonder if Vinz isn’t at least partially driven by some guilt. He is the white guy here. He’s the “French” guy. Being Jewish brings a comment or two, but he certainly passes easier than his friends. They, with their browner skin, point out that they have different interactions with cops. They also seem a bit more resigned to the facts of their situation. It’s tragic because Vinz’s passion brings them down with him—first by breaking Hubert, then by the major trauma that will affect Saïd the rest of his life.
La Haine pointed out to me that this shit doesn’t seem to change. It’s been this way for generations. The cycle is repeating in American cities all over, in geopolitical conflict, and anywhere you can think. This particular injustice—the lack of accountability for people in power—is universal. All of us have felt it. Fortunately, we haven’t all had it end like Vinz.
La Haine is fantastic. My attention was squarely on the movie the entire time. The black and white was beautiful. The movie opens on a tight shot of Vinz which is crisp and sets the visual tone for the entire thing. If you haven’t seen this, you should watch it soon.
My pick for the Criterion Challenge’s 1990s category, except this could cross so many more off. I’m glad I had the excuse to pick it.