The four-part series “Dolores, the curse of the red sweater” leaves a large room for historical reconstructions of a doubtful taste.
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Certainly, the series are fashionable. The various facts never ceased being. Should we try to cross “the forceps” both, which more is on a subject as undermined as the Ranucci affair (also known as “red sweater affair”)? There is indeed in the series an art of cutting and cliffhanger, a way of having a character exist in a few planes and some lines of dialogue, who have largely fertilized the realization of documentaries, testify to the true Crimes Anglo-Saxon, these Stories of actual criminal stories that swear on the platforms of SVOD.
On the paper, the project promises a lot: it is a question of understanding how the little brother of Marie-Dolores Rambla, 8 years old, removed and killed in 1974, in Marseille, has come to adulthood , to kill two women: his mistress Corinne Beidl, in 2005, then Cintia Lunimbu, a young woman presomably chosen at random, shot of cutter, in 2017, by Rambla, while he was on parole (he will be condemned at life imprisonment in December 2020).
Assassine pulsions
The case contains several topics. The guilt of Christian Ranucci, already: executed barely two years (in July 1976) after his arrest, he should have, according to Journalist Gilles Perrault, author of the book the red sweater (Ramsay, 1978), to be innocent by several Elements of the survey, of which this garment found near the place of the crime. His death sentence, then paid to the file of abolitionist combat. The trauma inflicted by the death of Marie-Dolorès on his family, finally. Jean-Baptiste Rambla always, in court, designate the death of his sister as the source of his malaise and his assassine impulses.
The problem is that, between the two, the heart of the documentary balance. The four aspects of the survey, rather well documented and which benefits from the participation of several actors and witnesses of the case, fail to pierce a mystery and the other: the series does not bring any new element on the circumstances of the death of the child. As for the particularly disturbing case of Jean-Baptiste Rambla, he is illuminated only through the psychiatric expertise presented during his trials.
All this would not be very serious if the documentary, the subject of which requires a rigor that confines the purity, did not go into a hybrid and eminently puzzle shape that intertwined archive images and reconstructed scenes in a Assembly, at the best perilous, at worst frankly doubtful. As this fourth component, which alternates images of Rambla during his trial for the murder of Cintia Lunimbu and a reconstruction “played” of his interventions at the bar.
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