Olivier Marchal, less interested in his scenario only by his characters of cops and truands, assumes the clichés in his diving in the heart of the northern districts of Marseille.
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Without a beard of three days – minimum -, it is almost impossible for an actor to integrate an Olivier Marchal cast. The pilosity reads from the outset as a metaphor of manhood, therefore courage. His seventh film as a director does not escape the rule.
Another story of cops evolving on the ridge line between good and evil, legal and illegal, total despair and silent sorrow. They speak like carts and punctuate their “fucking” sentences, “fucked” or “son of whore”. We confuse them a little, with their testosterone rate carried to the maximum, their hair in battle, their look jeans-blouse-sneakers, their problematic forty they consume by chaining the glasses of whiskey, cigarettes and conquests of a evening.
The “Maison Poulaga” is the comfort zone of Olivier Marchal, its sandbox. The former police officer, who experienced his first successful director with 36 docks (2004), assumes clichés of the genre, without playing with. He kept for his ancient colleagues a tenderness. He defends them, understands them, the absout, even when they slip.
Take Richard Vronski (Lannick Gautry), the bronx hero. Member of the AntiGang Brigade (BIS), he opposes Costa (Moussa Maaskri), head of the banditry repression brigade (BRB), while the war between corsican gangs rage in Marseille. To corser the whole, a new police chief (Jean Reno, hieratic like Belplegor) has just been appointed to put in order in this Phocoean tree.
Roman Black
This black novel on the big blue is so dark that the spectator can sometimes wonder if Marchal would not have had a bit heavy hand. Even if one feels that his concern is less that of making his story perfectly credible than to refine the psychology of his heroes and their Racinese trajectory, some explanations would not have been superfluous.
So Willy Kapellian (Stanislas Merhar), the most fragile of the members of the team of Vronski, which, from the beginning, from sinking, finished by shooting the curtain on a life too heavy. The director could have avoided out his stabilo to highlight the fragility of his character.
Person – Flics or Earlands (among whom we find, for a few minutes, Cardinale Claudia in Mamma Corsica), junior officers or large spawning – does not escape the wheels of destiny who brought the beings, were animated by the best intentions . The corpses accumulate. We end up ceasing to count them. So goes life, black like night. The big sailboat on which Vronski wanted to take off would not go much further than cassis creeks.
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