Le clan

Director Gael Morel debuted as a young actor in Andre Techine's excellent "Wild Reeds". In it he plays a teenage boy who develops an obsessive passion for a young Frenchman of North African descent, played by Stephane Rideau; Rideau being something of a prototype of the exotic, masculine male in question, (though in "Three Dancing Slaves" he has clearly outgrown the boyish stage.) In retrospect it's safe to guess that Techine cast him in such a role, having knowledge of Morel's own passion for the fore mentioned type. Morel films as a director are clearly dominated by this passion, overshadowing his treatment of the elements of story and character development which are somewhat lacking in his movies this far.

Morel is true to himself is expressing his personal fascination with the specific male type in question. "Three Dancing Slaves" abounds in images of the actors in various states of dress and undress, filmed with great care and with a genuine love for the form. It's a very specific gay aesthetic, expertly executed and one that will resound with those who share Morel's particular tastes.

Yet Morel aspires to more as a filmmaker and so he should. "Three Dancing Slaves" reveals moments of promise but ultimately falls short in most areas. His future as a movie director of merit will depend on his own development as an artist and his ability to bring his passion to the screen as an integral and balanced part of his work.

Despite the inherent weakness of the the film, "Three Dancing Slaves" does at least mark Morel as a possible talent to watch.

I thoroughly enjoyed this dark, engrossing film that addresses the harsh lives of a group of young men in the not-so-gay boondocks of France. I am always amused at "reviewers" who slag a film because the views of life and lifestyles depicted are not "pleasant" or meeting with their social approval. To them I say, folks, that's what mainstream Hollywood films are for. Don't expect to find it in a challenging French melodrama. If you are able to open your eyes to a depiction of life without Hollywood endings, you may find that this film depicts relationships and unhappy lives with a stunning honesty, brutality and even, dare I say it, bleak but ravishing beauty.

A Gael Morel film whose theme will be familiar to viewers who have seen "Wild Reeds" or "Come Undone" : young, handsome, sexy, disturbed young Frenchies trapped in the limited prospects offered by the mediocre towns and cities far from Paris. Here we have the three sons of an indifferent French father and a Maghreb mother, recently deceased. Where they live horny young men lack even a town whore for relief and, resignedly, must rely on the local grouchy, bored transvestite.

Morel favorite Stephane Rideau is a 20-something, "scared straight" ex con who will trade his youthful wildness for the dull comfort and security of middle class respectability while his two younger brothers grapple, respectively, with intolerable powerlessness and gay love.

All the guys are eye candy and Morel and his actors have never suffered from fear of frontal. All of which would mean little were it not for the interesting characters and Morel's unique cinematic style. Rent it. You'll enjoy it. And if it turns out you disagree, hell, it's only 88 minutes including the credits crawl. Jim Smith

This is a beautifully made film. The acting and production values are superb. I think the reason that some reviewers have difficulty with this film is just that it's a very simple film...It's about three young men dealing with the loss of their mother, and a father who has lost his wife. Each brother finds his own way to deal with his loss; one through drug abuse and self injury, one becomes his father, and another discovers the courage to express his desires. Morel allows the characters to breathe, and respects us enough to expect us to pay attention to visual clues which are equally important as spoken dialog, without spelling out all the details. Morel is masterful at depicting the emotional tone between individuals and groups. For instance, the scene in which Christophe has just come home from prison is extremely complex. There's a great deal of homo-erotic nuance between the brothers and their friends in this scene. While Morel creates a space for it, and fully inhabits it, he never feels a need to make a point of it, to make a statement. There's simply no need for that. It's not that they are gay or straight, but precisely that the lines between gay and straight are rather fuzzy between these good friends. Putting that message into words would create a self conscious tone in the film which could destroy the dense fabric of emotional ambiguity in which the brothers live. It may well be that part of the brothers emotional problems have to do with the intensity of their feelings for each other, and their fear of expressing them, as well. All three have shortcomings, and none find a way to fully escape the trauma that defines their family. In the end, the ironic point is that the slave dancer is free enough to take a principled, self respecting stand to end a demeaning relationship, yet the three brothers who look down on him are enslaved to their past.

The plot(and there is one) is entirely subservient to the emotional issues of the characters. If you're looking for a plot driven movie, this film has a plot, but the issues that drive the plot are almost entirely internal. This is a film not primarily about events, but how people respond to events and the ways in which their responses shape their lives. Viewed from that perspective, this is a unique and powerful film.

For the originality of its content and manner of telling, Gael Morel's "Le Clan" deserves wide art-house distribution. It does, however, need a better English title. Life may be difficult for people in the film, but they are not slaves and make choices that attempt to better their situations, if not always happily. Why not simply "A Clan," since nobody remembers Griffith's second title for "Birth of a Nation," or "Brothers"? Two boys practice a North African "slave dance," but for sport and release.

The tightly edited movie can be thought of as short stories about three brothers and their father. With rapid shifts we keep learning new things about the characters. Sometimes one wonders what went on during a gap, but usually one can figure it out and the dialogue that would have worked it through would have been sentimental and out of character.

One shot of the brothers huddled together watched by their father is difficult to justify realistically, but it works as a symbolic representation. If meanwhile one wants everything spelled out and sweetened, there is the Québec film "C.R.A.Z.Y." The brothers do maintain enormous familiarity. The youngest one, very drunk, is helped by a brother to vomit.

If that's shocking, we have to take it as a fact of the milieu. The banlieux of France have recently been in the news. "Le Clan" goes much further with stories that lead one to care for the characters in the variety of their difficult situations of social derogation, dangerous labour, sexuality, and self-esteem.