So, the train stops and everyone jumps out to sh*t on the tracks. But Grunwalski was shy, even when we bathed together, he got upset. But it's hard to relieve yourself, to take a sh*t, you can't do it on the train, and the only time the train stops is to take on water for the locomotive. You roll across icy steppes for days, without seeing a soul. When you go to a Siberian work camp, you travel in a cattle car. Does God believe in us? I once had a friend called Grunwalski. Nothing like a good sh*t! Do you believe in God? That's the wrong question. Bret Fetzerīullshit! You pointed a gun at a cop! We coulda been killed! Kassovitz's directing career has turned decidedly less political (his more recent movies include The Crimson Rivers and Gothika), but his perspective on La Haine and its inspirations remains sharp and lucid. The audio commentary by Kassovitz, who's fluent in English, is circumspect and thoughtful, with flashes of sardonic humor. As is usual with Criterion releases, the extra features are excellent, including an in-depth but accessible documentary about the housing projects and riots that inspired the film, retrospective material on the making of the movie, behind-the-scenes horseplay, intriguing deleted scenes (with brief but revealing explanations about the deletion from director Mathieu Kassovitz), and a wonderfully articulate introduction by Jodie Foster, who championed the film upon its release and distributed it through her production company. But watching the abuse is a rookie cop whose face quietly ripples with dismay, helplessness, and resignation), this is a must-see. Dynamic, reckless, sometimes obvious and sometimes subtle (and sometimes both in one scene, Hubert and Said have been picked up by the police, who torture them for kicks.
LA HAINE FULL MOVIE MOVIE
Hugely influenced by American directors like Martin Scorsese and Spike Lee (particularly Do the Right Thing), La Haine riffs through different styles and techniques, yet the movie feels organic and whole, driven by a genuinely passionate point of view. This simple scenario results in a remarkably complex examination of race, class, violence, and the abuse of power in modern society, yet never feels preachy or forced. This impact wouldn't have lasted, however, were the movie purely a political statement fortunately, it's a riveting journey that follows three unemployed young men (Said Taghmaoui, Hubert Kounde, and Vincent Cassel) as they wander and try to decide what to do with the gun that one of them has found. It's easy to see why La Haine had such an explosive effect when it was released in France its potent portrait of racial discord and life in the housing projects outside of Paris is at odds with France's egalitarian vision of itself.
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