An unusual Western with a pretty usual setup: two killers are sent after a guy who a fourth guy is tracking, only this time all the guys get to talkin’ all philosophical-like, and decide to team up. One of the Brothers (J. Phoenix) is kinda the dumb drunk one, and doesn’t seem completely on board with quitting the killing business to join the others and start a utopian society in the Dallas/Fort Worth area, but as time goes by, he upgrades his ambitions from killing the target to replacing his boss (Rutger Hauer). Phoenix also gets overzealous with the gold-detection chemical which the gentle escaped commie scientist (Riz Ahmed) has invented, leading to the loss of his hand and the death of the scientist and his tracker-become-bestie Jake Gyllenhaal. His brother (JC Reilly) is the more thoughtful one, is a good mediator between the others and also an excellent killer. Between the cast (including Rebecca Root as a local town/crime boss who hunters the Sisters) and the movie’s title and character names (Riz plays “Hermann Kermit Warm”), the movie seems like a comedy, but doesn’t have many laughs, and is gradually revealed to be its own weird thing. Surprising change from the over-serious immigrant crime dramas A Prophet and Dheepan. The actors’ faces aren’t usually visible, and I can’t tell if it’s a stylistic choice or Audiard not knowing how to light people wearing cowboy hats. Nice to see, briefly, Carol Kane as Mother Sisters, not made up to look like a crazy person for once.
Tag: Jacques Audiard
At first I thought Audiard seems influenced by the Godfather movies, from the young enforcer who takes over a crime business in A Prophet to this movie’s immigrant stories (dunno how Rust & Bone would fit in), but after it became clear that Dheepan was heading towards rage and revenge, I thought of it as a more currently-fashionable Harry Brown (others are saying Straw Dogs).
The most interesting twist: Dheepan and his “family” are only pretending to be a family in order to get refugee status and flee Sri Lanka, where Dheepan was a Tamil Tiger. They live together like strangers, only playing the family role for outside observers, but gradually begin to respect and protect each other. Meanwhile, the block of apartments where they live and work is a drug hub which turns violent when lead dealer Vincent Rottiers (young Jean in the Renoir biopic) returns from prison. With these pieces in place, the movie gets to create a crowd-pleasing finale where Dheepan draws on his violent past to protect his makeshift family. M. D’Angelo: “After nearly two hours of depicting the improvised family’s patient adjustments, negotiations, and compromises, Audiard abruptly switches to Hollywood fantasy, and there’s no sign that he’s doing so ironically, metatextually, or with any other subversive purpose in mind.”
Still a pretty good movie. I’m not as upset about this winning the palme d’or (or Loach winning in 2016) as others are. Regardless of the winner, I’m still seeking out as many of the acclaimed competition films as possible (so far: Carol, The Assassin, The Lobster, Sicario).
Malik (Tahar Rahim) goes to prison, seems way out of his league, becomes a lackey for Italian mobsters led by Cesar (Niels Arestrup), eventually gains knowledge and power, turning on his masters and starting his own drug business. Along the way, the movie illustrated some things I would’ve been better off not knowing, like how to slash a guy’s throat using a mouth-concealed razor.
Strong acting, kinda complicated plot with murders and trips outside and ghosts. I’m bad with names so I liked the movie’s trick of putting new characters’ names on the screen. Ends with the welcome and unexpected sound of Jimmie Dale Gilmore. The last crime movie I watched had Willie Nelson in it – I guess country music works well in prison settings.
Cannes Month continues. This is the first I’ve seen by Audiard, who has been Cannes-nominated four times. He won best screenplay in 1996 for A Self-Made Hero, second place to The White Ribbon with this movie, and finally won the palme last year with Dheepan. This also won nine Césars and was nominated for everything in the world.
Cowritten with Thomas Bidegain (Les Cowboys), Abdel Raouf Dafri (Mesrine) and Nicolas Peufaillit (Les Revenants remake). Tahar Rahim won a ton of awards for this, later played Samir (Berenice’s fiancee with the wife in the coma) in The Past, starred in Day of the Falcon and The Cut, and will apparently costar with Mathieu Amalric in a Kiyoshi Kurosawa movie but I’ll believe that when I see it. Neils Arestrup also played the father-figure in Audiard’s The Beat That My Heart Skipped and played “Il” in Akerman’s Je Tu Il Elle.
R. Porton in Cinema Scope wasn’t a big fan:
Numerous critics have pondered whether the film’s conclusion, which ends with Malik’s release from prison and the promise of life with a new family, is “redemptive.” Yet this prospect ultimately carries little weight in a film that is sabotaged by its own contradictions – contradictions that are the product of authorial sketchiness instead of salutory complexity. Audiard does not have the courage (or the talent) to be either straightforwardly pulpy or an unabashed social realist. Consequently, Un prophète, despite near-universal critical acclaim, languishes in an aesthetic no man’s land.