Mesrine: Enemigo Público

*REVIEW OF BOTH PARTS*

There is a short paragraph that opens both "Mesrine" films; the exact wording escapes me, but it says something like "no film can accurately portray the complexities of a human life". This seems to be a pre-emptive defense, as if Richet anticipates criticism for a lack of depth or some glaring omissions. After all, Jacques Mesrine is apparently still a famous name in France, and his public persona lives on. If even half his supposed exploits were true, the story would still be crying out for a definitive dramatisation. As such, Richet has wisely avoided making any real ethical judgements of Mesrine's character, focusing instead on the sex, violence and publicity that he thrived upon. But it's Vincent Cassel's committed and exuberant performance that develops this meat-and-potatoes content into an unbiased character study of excess and, over all, a very fine pair of movies.

"Mesrine" may not seem to be particularly even-handed at first because of the glamour, the wisecracks, and the endless charisma, all of which are drawn from the rich stylistic tradition of the Gangster Movie, and used very skilfully in its favour. The fast pace of the story ensures we are either seduced or repulsed by the central character, and rarely anywhere in between. Sympathy or pity is irrelevant, and he is too brutal and trigger-happy to be rooted for as a regular protagonist. The first film is the slicker of the two, and the more visually satisfying due to the wonderfully stylish recreation of early 60s Paris (and elsewhere). Cassel plays Mesrine with youthful vigour here. He's all style and brash confidence, as endearing a wiseguy as any of Scorcese's characters. It's "Goodfellas", in fact, that "Killer Instinct" is most reminiscent of, with its sharp-suited mobsters (including a brilliantly grizzled Gerard Depardieu) and episodic year-hopping narrative.

By the half-way point, Mesrine is still something of an enigma. It's only in "Public Enemy No. 1" that the pace slows down and we can see, through a few intimate and contemplative scenes, what he has sacrificed to live as a superlative criminal. "I wasn't much of a son, I'm not much of a father either." he says, while in disguise visiting his own ailing father in hospital. He gradually alienates his closest friends and accomplices by trying to maintain the outlandish public profile he cultivated, rambling pseudo-revolutionary politics to journalists and threatening to kill judges and destroy all maximum security prisons. The "Goodfellas" ensemble of the first part becomes the isolated, ego-driven "Scarface" of the second as Cassel skilfully matures his character into a man resigned to the fate he knows must be coming.

The over all impression left by "Mesrine" is that it manages to land successfully between crime thriller, gangster saga and character study. This is achieved by the virtue of a standout central performance, as well as Richet's shrewd application of an American film-making style to a very French story. It ought to go down among the top crime dramas of the decade, or at the very least raise the (already decent) international profile of its impressive leading man.

Last Month, I commented Mesrine Part One: "L'Instinct de Mort".

Now, there is Part Two.

This movie is as terrific and exciting as the previous one. The characterization as fascinating and poignant too. Cassel gives here his best performance ever. Whatever he will do in the future, he will never do better. He has reached here the top of his career.

I'll just describe one sequence. Somewhere the equivalent of the one I gave you for the previous chapter. Remember, when Cassel and Depardieu took a woman protector - an Arab - for a "ride" in their car.

Here, in this movie, Cassel and his anarchist, revolutionary and extreme left winged friend Lanvin - Charlie Bauer - take a journalist for a ride in their car, too. An extreme right winged one. A fascist. So, when the journalist in question tells the two men that the Algerians deserved to be killed in Paris, in 1961, and thrown in the Seine by Papon's policemen, don't miss Lanvin's eyes in the rear mirror. Don't miss his face. Especially when you already know that Lanvin -Bauer - fought for free Algeria, and that he hates fascists to the death.

At this moment, you understand that this journalist - who also told in his papers that Mesrine was a traitor for his friends and a coward too - was going to live some "difficult" moments...

So delicious to witness in the audience, I mean.

And about the very ending, the last shot of this film, I promise that every one in the theatre stays still some minutes afterwards. Stroke by lightning. Even if every one is prepared for it.

Just one more little last thing, but with great importance. In real life Jacques Mesrine had a very little voice, not a woman's voice, but the voice of an ordinary, gentle, harmless blue collar worker asking for a cup of coffee at the local café round the corner. Mesrine's face - not eyes, face - was the common ordinary French red neck, that's the reason why he could easily disguise himself and being hidden in the middle of a crowd. Only his eyes were not common. HIS EYES were themselves a war path, a milkyway of violence and brutality, merciless and will of revenge and destruction. The previous film, made in 1983, and starring Nicolas Silberg, was a good movie, but not as sharp nor ambitious as these two made in a row. Silberg was though more like Mesrine than Cassel, I mean his face. And Silberg had a rough voice, adequate to his physique, despite the fact that Mesrine had NOT a rough voice. So, the funny thing is that Silberg was more Mesrine than Mesrine himself !!!!

Weird and confusing, I admit. And rare too.

Greetings again from the darkness. This is part two of director Jean-Francois' tale of famed criminal Jacques Mesrine. As in part one, Vincent Cassel delivers a frightening performance of this psychopath who is addicted to the spotlight, danger, women and little else.

The second film drives home the point that Mesrine was little more than an aggressive hoodlum. What I mean by that is that he was no criminal mastermind. No real strategist. He just steals when he needs money and then quickly helps the press fill in the blanks on his escapades. Watching him swell with pride as he is pronounced France's Public Enemy Number One is just plain creepy.

Ludivine Sagnier (so great in "Swimming Pool") plays Sophie, his last girlfriend. Watching her reaction to her dog being shot in the final shootout tells you all you need know about her and her relationship with Mesrine.

Much of this part is based on the police chases and the efforts put into "catching" Mesrine and his accomplice. His new partner in crime is played by the terrific Mathieu Amalric ("Quantum of Solace", "The Diving Bell and the Butterfly"). Amalric has the steely eyed stare that give him the chops to hang with Cassell.

While I truly admire Cassell's performance in these two films and I find them extremely well made, I still feel a bit empty about the subject matter. Mesrine was a brutally violent criminal who managed 3 daring prison escapes, numerous bank robberies, kidnappings and killings. However, there is just not much depth to the man. Maybe it's true ... some people just want to see the world burn. No matter what, these two films should be seen as close together as possible. This is ONE STORY cut into two pieces. Set aside 4 hours and see the entire thing.

Jacques Mesrine (Cassel)one of France most notorious criminals, Wanted for murder and robbery. Easily escaping from every maximum prison thrown at him. He was certainly a colourful character. This amazing two part film literally blew me away. The action, characters and plot are all well thought out and directed by Jean-François Richet (Assault on precinct 13). In many ways his life mirrors that of john Dillinger's (Public Enemy) who was also a publicly acclaimed Anti-hero. As you follow the troubled front man, you start to understand that he had more in his sights then smash and grab hold ups.

Vincent Cassel is brilliant as the "honest bandit". I decided to watch part one (Killer Instinct) after that, I couldn't get enough of this rather vivid bio. Both parts of the story are equally as strong; the first being may be more accessible then the latter. But for the full effect I recommend you watch it back-to-back. It's a roller-coaster ride that leaves you wanting more.

But as the dust settles and Mesrine accepts his inevitable decline "If you are listening to this, then I have been sent to a cell, for which there is no escape" simply amazing cinema! Reviewer: Joshua Roberts For more weekly reviews go to www.crazyaboutfilm.com

I think it's common knowledge how the film ends, but I won't divulge for those that don't know. Public Enemy No. 1 is far more action packed and seems far more 'Hollywood' than the comparatively quieter 'Killer Instinct' - unsurprising though, considering it's the business end of the Mesrine story.

Cassel is the driving force behind the whole film, without him it would have been an average to good film - with him it's good to great.

I don't know where everyone stands as far as the real life Mesrine goes - hero or villain. I certainly put myself in the villain camp, and so does Cassel and it shows.

From the offset we see that all though Mesrine can speak passionately, lucidly and 'rabble rousingly' it is always characterised by an impenetrably brash and brazen arrogance which is NEVER counterbalanced with any vulnerability to make the character more endearing. Jacques Mesrine's inherent evil is often masked by a jocular bravado and his monologues justifying his way of life are mesmerising - but you're never convinced enough to actually like him. Therein lies Cassel's greatest achievement in the film - to create a character for which all you can feel is antipathy but nevertheless to find him intriguing enough to carry on watching.

Certainly, he does afford us some light touches. I smiled as he boasted at the beginning of the film of being Public Enemy Number 1; his face being Gallic nonchalance personified, as well as the scene of him and his accomplice Francois Besse (played by Mathieu Almaric) trying to cross a river.

Besse provides a solid sidekick for Mesrine to flourish, telling Mesrine that they are not 'luminaries' soon after Mesrine's interview where he tries to elevate himself to hero status with the most simplistic of demagogic arguments: "I don't like laws and I don't want to be a slave to those laws in perpetuity" (to paraphrase).

I do have some small criticisms, such as Anne Consigny's (who incidentally appeared with Almaric in 'Wild Grass', 'A Christmas Tale' and 'The Diving Bell and the Butterfly') unconvincing role as Mesrine's corrupt solicitor. Her face seems just too honest.

That petty criticism aside I'd give the film 7.5/10, giving the benefit of the doubt it's an IMDb 8.