But the concrete suburbs where Kassovitz sets his film (the same sterile settings that were home to Eric Rohmer's cosmically different “ Boyfriends and Girlfriends” in 1987) give back nothing. Many French films place their characters in such picturesque settings-Paris, Nice-that it is easy to see them as more colorful than real. His black-and-white cinematography camera is alert, filling the frame with meaning his characters are not aware of. As a filmmaker, Kassovitz has grown since his first film. Treated that way by the police, they respond-almost whether they want to or not. They are not bad kids, not criminals, not particularly violent (the boxer is the least violent), but they have been singled out by age, ethnicity and appearances probable troublemakers. They have no jobs, no prospects, no serious hopes of economic independence, no money, few ways to amuse themselves except by hanging out. When his younger sister’s school is burned down, Vinz's Jewish grandmother warns, “You start out like that, you'll end up not going to temple.” What underlies everything they do is the inescapable fact that they have nothing to do. They move on the periphery of riots that have started after the police shooting of an Arab youth. They have run-ins with the cops, who try to clear them off a rooftop hangout that has become such a youth center, it even has its own hot dog stand. culture because it is not French, and they do not feel very French, either.ĭuring the course of less than 24 hours, they move aimlessly through their suburb and take a brief trip to Paris.
They use words like “homeboy.” Vinz gives Saida “killer haircut, like in New York.” Vinz does a De Niro imitation (“Who you talkin' to?”). These characters inhabit a world where much of the cultural furniture has been imported from America. That they hang out with one another reflects the fact that in France, friendships are as likely to be based on class as race. (Imagine how a moviegoer from Mars would misread a film like “ Driving Miss Daisy” if he knew nothing about Southern segregation.) The three heroes of “Hate” are Vinz ( Vincent Cassel), Jewish, working class Hubert ( Hubert Kounde), from Africa, a boxer, more mature than his friends, and Said ( Said Taghmaoui), from North Africa, more lighthearted than his friends. The French neo-Nazi right wing lurks in the shadows of “Hate,” providing it with an unspoken subtext for its French audiences. While this does tenuously resemble a film like do the right thing in terms of general storyline, I feel like this very much sets it's own precedent in depicting a truly inglorified representation of today's reality.In America, where for all of our problems, we are long accustomed to being a melting pot, it is hard to realize how monolithic most European nations have been-especially France, where Frenchness is almost a cult, and a political leader like Jean-Marie Le Pen can roll up alarming vote totals with his anti-Semitic, anti-immigrant diatribes. The story itself distills a diligent portrayal of three rioting french men in the advent of police brutality inflicted of one of their friends seems like something so dystopian yet so resonant, which induces the most nuance of fear within the entire film. While it seems like any context to these characters are ambiguous, the quintessence of this film is how it only wants to merit what is depicted in the run time, the three friends adopt a volatile agenda that dictates the plot, which helps to adopt the fairly mundane context into something more palpable and more brilliantly potent. Hubert, a boxer, is a man of rapture, he dreams of conforming to a life of being docile and neutral, although the heavy shackles of cynicism burden him. Usually through how he attempts to coerce vinz and Hubert into spontaneous acts of violence, despite their frequent ambivalence of what is the point of resenting. Saïd reciprocates many of mutual exasperated virtues as vinz yet his pretence of protruding masculinity that he believes liberates him is often futile. He so desperately yearns to get retribution for his friend who was seriously injured by the police yet he cant diminish a feeling of not being able to follow through on his words.
His flagrancy is his biggest detriment, causing a tepremental imbalance, as he also struggles to synthesize his animosity into a tangible sentiment. Vinz represents a subliminal abundance of cynicism to the principle of gluttony and gentrification within Paris. The three protagonists each manifest separate adversaries of contemplative temperaments:
La haine so far so good movie#
La haine is a movie that indoctrinates and places many rhetorical convictions on the collateral effects of resentment. Hubert: Heard about the guy who fell off a skyscraper? On his way down past each floor, he kept saying to reassure himself: So far so good.