Les Miserables movie review: The misery still exists

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Written by Shubhra Gupta
| New Delhi |

Updated: March 14, 2020 5:09:53 pm


Les Miserables movie review Les Miserables film evaluate: This Damien Bonnard starrer is an element police procedural, half socio-political commentary.

Les Miserables film solid: Damien Bonnard, Alexis Maneti, Djibril Zonga, Issa Perica, Raymond Lopez, Al-Hassan Ly, Almamy Kanoute
Les Miserables film director: Ladj Ly
Les Miserables film ranking: 3.5 stars

Borrowing the title of one of many biggest novels of the 19th century, Les Miserables by Victor Hugo, for a up to date movie, can seem to be overkill. But when Ladj Ly’s handheld cameras begin rolling down the powerful Parisian suburb Montfermeil, tensions rising every minute, you start to know why the debutant director has accomplished such a factor: his topics could also be faraway from Hugo’s by greater than 200 years, however the distress nonetheless exists.

Ly’s eye, by no means nonetheless, all the time stressed, alights upon the poor and the dispossessed, virtually all belonging to the immigrant communities who’ve been pressured onto the outskirts of one of many glitziest capitals of the Western world. This is widespread to the marginalised all around the world. The message handed out to them being merely this: we aren’t joyful about this however should you should insist on being the place we’re, effective, however allow us to not see you. It comes as no shock then, that Ly was raised within the neighbourhood he has shot in; and once more no shock that the exact same neighbourhood impressed Hugo’s traditional as properly.

The movie is an element police procedural, half socio-political commentary. Stephane (Bonnard) joins an anti-crime patrol unit consisting of the hard-as-nails, cynical Chris (Maneti) and Gwada (Zonga), and we see them circling the streets: it’s a each day sweep, and clearly a lot of the residents are recognized to the cops, as they swap what looks as if innocent banter however which is laced with resentment and anger.

A prank by a younger boy referred to as Issa (erica) is the catalyst for actual bother, which spills out from the high-rises crammed with folks residing a hand-to-mouth existence, to the streets lined by children sufficiently old to be at school, too younger to be hoodlums. Racial and non secular slurs are flung about, not simply amongst the residents who’re aligned with their very own, however amongst the cops. Stephane, probably the most compassionate of the trio, finds himself at odds along with his colleagues, and in a nook: ‘you do not rat out your partners’. That is an unwritten rule.

Stephane is the ethical centre of this roiling universe, which the movie captures superbly and powerfully. It’s dangerous sufficient to see adults combating like foolish youngsters, however your coronary heart turns heavy once you see armies of youngsters and youths, their faces hidden behind make-shift masks, vary themselves in opposition to the cops, who wield energy like a weapon.

The movie closes with a powerful picture. A cop with a cocked gun, pleading for his, and his colleagues’ lives dealing with the implacable eyes of a kid, holding a burning ember. Will he fling it? Or not? You end up within the center, hoping for security. Hoping that the kid dials again. Hoping that the cop doesn’t must shoot. Hoping for sanity. For the miserables, in every single place.

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