France’s Oscar Entry Les Misérables Is an Invigorating Story of Poverty and Revolt


Typically the worth of a film lies not in telling you a narrative you’ve by no means heard, however in the best way it attracts you, for an hour or two, deeply into another person’s world. That’s the facility of Les Misérables, the debut characteristic from Mali-born French filmmaker Ladj Ly, which gained the Jury Prize at Cannes final yr and is France’s official entry for the Academy Awards. You’ve absolutely seen photos which are form of like Les Misérables. And but there’s nothing precisely prefer it: It has a bracing, melancholy vitality all its personal.

Les Misérables is ready within the Parisian suburb of Montfermeil, the place sections of Victor Hugo’s 1862 novel is ready, although the film’s connection to that earlier story reaches even deeper than that. This Les Misérables can also be a narrative of poverty, injustice and revolt, intensified by the hostility of people that have robust emotions about who belongs in a rustic and who doesn’t, a battle that’s overheating not simply in France however in nations worldwide.

Ly’s story—co-written with Giordano Gederlini and one of many film’s stars, Alexis Manenti—traces the connection between a trio of cops and the folks it’s their job to guard, although their safety is extra typically simply plain outdated policing. Chris (Manenti)—he’s recognized within the neighborhood because the “Pink Pig,” a nickname he really relishes—is the aggressive bruiser who feels his job offers him carte blanche; he thinks nothing of making an attempt to grope a teenage woman below the auspices of frisking her for medication. His longtime accomplice, Gwada (Djibril Zonga), principally goes alongside, although generally you catch a flicker of disapproval or wariness in his look. Gwada is black, and we study that he really grew up within the neighborhood, however that doesn’t make him an insider there. If something, the locals view him as an outsider, a traitor who has forgotten how onerous it’s for them to simply get by.

Chris and Gwada have a brand new accomplice, Corporal Ruiz (Damien Bonnard), who has simply moved to the town from the provinces for private causes. He’s reserved and watchful, and from the beginning he’s mistrustful of his new companions—significantly Chris—however he is aware of loyalty to them is a part of the gig. Les Misérables principally takes place on Ruiz’s first day on the job, but it surely’s not likely about him: He’s simply the filter by means of which we see the whirl of life on these neighborhood streets, a spot the place residents take care of one another as a result of they know nobody else will.

The streets are crammed with youngsters, taking part in basketball or utilizing items of cardboard as makeshift sleds or simply working round, getting their ya-yas out whereas doing hurt to nobody. They take a break from their self-imposed mayhem to flock round an area vendor, asking for Snickers and different treats. When he realizes they don’t come up with the money for to pay, he shoos them off, they usually complain loudly: “But we’ve been playing sports! We’re hungry!” They know their righteous indignation gained’t sway him, however they struggle it anyway.

One among these youngsters is Issa (Issa Perica, in a taut, superbly understated efficiency), a boy of 11 or so whose physique is all angles and elbows, his hair formed into an retro level. He’s a reasonably latest immigrant, and we first meet him—although we’ve seen him earlier—after he’s hauled into the police station for stealing a bunch of reside chickens. The guardian or caretaker who comes to select him up berates him angrily. Ruiz takes all of it in—he’s a guardian himself—and you may see him questioning what this child’s life is like, and if he’ll be OK, however he is aware of a lot of that’s out of his management.

In the meantime, Chris swaggers by means of the neighborhood as if he’s its prince. Ruiz tries to go alongside, however a conflict is inevitable. There’s an accident—or an occasion that’s offered as an accident—and a scramble to cowl it. Ruiz learns extra about his beat, and his companions, on his first day than he most likely cares to know, but it surely’s all stuff he wants to know.

You’ve seen this story earlier than, roughly, for those who’ve seen Coaching Day or The Wire or any variety of exhibits or films about beginner cops studying the ropes in powerful neighborhoods, the place youngsters typically stroll a high-quality line between going unhealthy or turning out OK. However the taste of Ly’s film is distinctive even so: He’s so in tune with the vibe of the road that you just perceive instantly what the stakes are. The film’s opening is the important thing to the movie, although you don’t realize it till the top: We see a bunch of ebullient neighborhood youngsters, together with Issa, boarding a practice to the middle of Paris, celebrating France’s World Cup victory. They wave flags in entrance of the Eiffel Tower and the Arc de Triomphe. They belt out the Marseillaise. In nations everywhere in the world, individuals who imagine they know greatest are asking each newcomer, Do you belong right here? Who mentioned you may come? Les Misérables is a response, oblique but definitive, to the query of who belongs and who doesn’t. These youngsters singing the Marseillaise in entrance of the Arc de Triomphe aren’t asking the query, Who is basically French? They’re answering it.

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