At the end of the sequence, Said and Hubert just look at him, unblinking, and he drops his eyes. Every now and then he faintly shakes his head, as if to say, I'll never behave like that.
It's an oldie." But the lesson is for the benefit of a new recruit, who says nothing. True, the policeman in charge takes the opportunity to give a sadistic masterclass: "Do you know this one? The Shanghai Squeeze. Even when Said and Hubert are being "interrogated" in custody, police brutality is not presented as monolithic. There's a veteran local cop (he's maybe 30) who rescues Said from the consequences of his own aggression, and laments that he can't talk to the kids anymore. La Haine makes no bones about being anti-police, but Kassovitz's screenplay leaves plenty of room for nuance. He's remarkably calm about the destruction of his property, and when it comes to women (not, admittedly, a major presence in the film), he is the only one who can start a conversation without fronting up with a ludicrous display of aggression. Sometimes Said keeps the peace between the other two, at other times it's Hubert who is the voice of reason. In this rainbow coalition of the dispossessed, the allegiances and roles keep shifting. Vinz's friends are Said (Said Taghmaoui), who is an Arab, and Hubert (Hubert Kounde), a black boxer whose gym was burnt out in the riots.
When violence breaks out in the street while break dancers are giving a display in a burnt-out building, the camera stays with a dancer, spinning improbably on his head, while everyone else runs to see what's happening. Much of the film's bruising lyricism comes from the camera work: as a DJ plays a bizarre mix of anti-police rap and Edith Piaf, the camera lurches drunkenly into the air at rooftop level.
But though Kassovitz sticks to black-and- white in the body of the film - black-and-white still says verite to us, even though news footage is now invariably in colour - he doesn't restrict the camera's role to passively registering events. The young men do a defiant dance in front of police lines a policeman throws a rock and jumps up and down like a kid when it lands. The film starts without gloss, with bare titles and news footage of running battles between the police and youths from housing estates. But from the reaction in France to La Haine, it seems that Mathieu Kassovitz's film looked as extraordinary to its home audience as it does to us.
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It takes the presence of a familiar star to sell us a French film, and then we crack weak jokes about the French law that requires Depardieu to be in every film made domestically. Using the characters and the way the film has been made, it is obvious that Kassovitz has shown how hard it must be to live in that time.We see such a small proportion of French cinematic output in this country that we're not really in a position to judge the whole. In conclusin the flim has shown conflict in alot of ascpects of the Paris Riots. But I think conflict is shown here as that nothing ever changes and that is always going to be the same with riots and fighting with the country and the police. The film of the riots is in black and white so might make the viewer think maybe when the actual film starts it might go back to colour, but stays the same as its almost part of the film. But I think before the narrative begins this is very effective.
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Immediately audiences can recognise things they have been watching on TV for years and what they now about the riots, but have never actually been right up in front of the action. Real footage is being used of the riots in Paris and this adds to the story of the film. We can see here that conflict has been caused here but the little suburb not taking the time to move forward but focusing on the arguments and other issues.Īnother part of the film where conflict is shown is how the film starts at the beginning. Conflict is shown here that the world has moved on and is all moving forward but the estate where the live in Paris is forever going to be stuck as it is always the same and always fighting. This has an added effect on how the audience view the film. Originally shot in colour but then changed into black and white in post production. The film shows conflict first of all with the colour. The director Mathieu Kassovitz uses a number of cinematography techniques and camera shot to make the fast passed film that is La Haine. La Haine follows the story of 3 young men in 24 hours and what kind of trouble they get into being part of the Paris suburbs and the riots. Most of the time politics can be involved or maybe even hatred against the police. In Paris then and now there are riots in the summer time, but what the riots are for can change every time.
La Haine is set in the Paris suburbs in the late 90’s.