Coup de torchon

Bertrand Tavernier once again shows why he's one of his country's most challenging directors with this disturbing dark comedy, loosely adapted from a Jim Thompson novel ('POP 1280') but relocated to French Equatorial Africa just before World War II. The story follows a lazy, ineffective police chief in a dusty colonial city, who begins to manipulate his tormentors in much the same way they earlier abused him, discovering along the way the omnipotence of his position and the immunity provided by his reputation as an incompetent buffoon. After suffering the indignities of a natural born doormat all his life, he strikes back with a vengeance, slowly descending into a rational madness that commands sympathy while simultaneously provoking moral outrage (at one point he callously murders the innocent native servant who mistakenly witnessed on of his killings). Tavernier builds the tension from his characters rather than from the plot, using touches of unsettling black humor to further blur the line dividing comedy and tragedy.

Jim Thompson meets Joseph Conrad in a small, dusty town in Senegal. The writing is excellent throughout, delving into themes that most films would never have the guts to handle. Brutal, darkly humorous and brilliantly done. A great, great film noir. Not a movie for those easily offended (though one they should probably see and learn from.)

Lucien Cordier is not like most cops. He's a main chief in a West African village where white people are the minority though, in 1938, are as racist and sexist as can be. He's also not a very good cop, as he barely ever arrests anyone and his authority can be challenged pretty quickly, even by two scummy pimps. He's like the pushover kid in a playground who may be a nice guy, but he's also not quite strong enough to actually attain the authority needed to stand up against the bullies. That is until Lucien decides to fight back, in a manner that is at a calm extreme; an oxymoron, perhaps, but watching Lucien is an oxymoron in human form, but a fascinating one. He'll kill someone, anyone, he thinks of as an enemy to him, shooting a man in the back, the pimps, or even the man who helps him dig a grave. He calmly explains some of the whys, but he never goes too ballistic. Lucien is a man of principles, but to say exactly what or why is a mystery.

This is what makes Coup de tochon, or Clean Slate, based on the Jim Thompson novel Pop 1280 (mentioned in passing as Pop. 1275 for no good reason at one point in the film), is about this man who is warm, lustful, proud, and perhaps a not entirely bright but not stupid either. And as played by Philippe Noiret he makes this film compulsively watchable. The supporting cast, such as Isabelle Hupert and Jean-Pierre Marielle, don't fare too badly either, but it's Noiret that elevates this to something more than director Bertrand Tavernier could have expected. He gives a performance that is intense without ever being over the top, and thoughtful while seemingly aloof in some points. He makes Lucien a guy we might like to know or talk to for a little while, until we see the veneer peel away, a fragile man who has been pushed around by his bosses and his wife (Stephan Audran) and in a position with such little power that the only way to bust loose is senseless killing. As he says, "Would a man with these eyes be a killer?"

Tavernier's direction is lax and smooth, jagged with some documentary style and realism (it was shot all on location, and it looks it always), but there's also a distance I felt to many of the scenes, a deliberate attempt to strip down film-noir elements to light absurdism mixed with sardonic tragedy. There are some great moments, don't get me wrong: the scene with the film screened for the village people at night that gets ruined by a windstorm as the audio keeps playing on with the film cut off and people scrambling for cover; the first killing scene of the pimps where Lucien becomes a larger threat with every passing second leading up to a predictable but still shocking climax; an ending, which I won't mention here.

It has such moments, but I wasn't very moved by Coup de torchon throughout, and it's not directed with the surest hand. And yet, I have to give it to Philippe Noiret: in any other film noir he'd be out of place, and yet here, he's perfect.

I saw this as part of a Jim Thompson quest.

The film opens with a solar eclipse, a mythic way perhaps of foreshadowing the eclipse of humanity and values that follows. The West African setting is only proper in that aspect, like the setting of the Jim Thompson book, it's a doomed dusty limbo blotted out of the map where, in the absence of palpable law or ethos, humans are allowed to be the lowest they can be. Elsewhere the world is perhaps striving to maintain a moral appearance, but not so in Bourkassa, no one is looking there. Thompson had a dark view of humanity, for his own reasons, and for his protagonists, his crazed sheriffs and murderous sociopaths, he seems to reserve a last word that justifies their existence.

It's a really funny film, as a comedy it works marvels, and I like how Tavernier shifts the tone light to dark, goofy to perverse.

But what about Codier, the policeman of the small African town at the edge of the desert? Another reviewer reads in him a deranged figure of destiny that smites down people who deserve it, a vengeful Jesus placed on this earth not to save souls but to release them. But, even though his folly is obvious, the lack of retribution for his acts, the lack of a destiny to smite him, is it omission or statement? In an amoral universe that defies order, Codier is perhaps trying to maintain a perverse moral ground, or he's only serving his own bastard self, pushing his luck to see how far it will get him. If the film was a thriller it might have not worked, but I saw an absurd comedy foremost, and the laughter of that amoral universe is also echoed in Codier himself.

When he goes on on his little soliloquis on existence, Tavernier reaches for a solemn tone that seems strange at first, but at least we can understand that this murderous buffoon is no better than anyone else around him. He's likable because he suffers indignity with the nonchalance of a Mr. Hulot, but the next day he'll wake up a coward killer and scumbag. This contrast and his own belief in the incorrigible of his actions makes the movie work.

Perhaps he's so successful at being a scumbag, because the rest of the world permits it. If everyone else around him is either a moron or a scumbag, why should he strive to be any better? As a human being he's pathetic, but as a movie character I find him fascinating to watch. The fatalism that everyone gets what he deserves and there's no escaping the cogs of fate is the icing here.

After reading some of the reviews on here, I felt compelled to write one myself simply because it seems most of the people who reviewed this film did not read the book it was based on (POP 1280 by Jim Thompson). Some found it astonishing that one would actually seek out this book in the first place (including the director), but I happen to be a Jim Thompson junkie and I would say POP 1280 stands as his best work in the "psycho-lawman" sub-genre that he single-handedly created. It's far superior to the Killer Inside Me although many would disagree with that. Long ago, when I found out there was an actual film based on this book, I had to find it and see it. Luckily it was at my local blockbuster, and I rushed home to view this take on one of my favorite Thompson books. I have to say, it was a bit off-putting to see the whole story transposed to Senegal. However, as the film played, I realized that this was actually quite a brilliant move by Bernard. Aside from the location and French actors, everything else is mostly retained from the book in terms of the dark humor and over-the-top situations. The acting is superb and the cinematography is just gritty enough to give it the feel it needs. This is one of the best Thompson adaptations and I highly recommend it, especially if you have read the novel. I also recommend seeking out Serie_Noire which is the French adaptation of A Hell of A Woman. It's not as good as this one, but it's still excellent.