L'Empereur de Paris

Cassel always takes the lead, good content and story with few good wording of French litterature

"Vidocq" (Vincent Cassel) is thriving amidst the underworld of Napoleonic France but having been wrongly convicted of murder and escaped from captivity, is keen to go straight and earn an amnesty from the government. That might be possible, but for that to happen he is going to have to co-operate with the embryonic Sûreté and help track down some insurgents. Needless to say, when rumours start to flow that he has turned his coat, the fraternity that was once his safe source of his anonymity now starts to make his life even more dangerous than his new task. Historically, this has it's roots in an actual man who was instrumental in setting up a French national police force, but as this goes, we are presented with a great looking drama that's really lacking in depth or characterisation. Save for a few potent appearances from Fabrice Luchini as the cynically duplicitous minister Fouché, the underused but still useful August Diehl's duplicitous Nathanaël and an enthusiastic effort from James Thiérrée as the dashing, cavalier-like Duc de Neufchâteau it's all a rather pedestrian affair that seems to imbue Vidocq with a certain degree of implausible immortality. Perhaps it is just simply trying to condense too much history into two hours but we never seem to get to know any of these folk; to get even the most basic understanding of what drove them nor of how precarious the whole French empire was at the time. It also tries too hard to involve us in half-cooked internecine plots that aren't properly explained or put into context, and so might as well be a few stand alone (and sometimes quite repetitive) episodes of "The Three Musketeers" meets "The Count of Monte Cristo". Cassel does own the part and the production designers and the armourers have done a great job creating a dark and gritty environment for this history to unfold, but believe it or not it can almost verge on the dull at times. There's a solid ensemble cast backing things up, but it's ultimately a bit of a meringue of a story - lots of topping but not much underneath.

It was a really nice movie with great acting. Vincent Cassel was astonishing, as always!!!! However, as it was a real story and Francois Vidocq was a person that existed in real life, it would have been better if we were given further information about him at the end of the movie, that he finally accepted to be the leader of security police of Paris, he founded the 1st detective agency and he is considered to be the father of modern criminology.

Most people won't get bored watching L'Empereur de Paris. The performances are good, the Parisian settings are fantastic ... the film looks a million dollars. The action sequences are exciting.The prologue was really intriguing, especially considering the movie's claims about it being a "true story". I was keen to find out more about Francois Vidocq (Vincent Cassel), of whom I'd never previously heard anything about whatsoever. This former criminal apparently became the founder and first director of the crime-detection Sûreté Nationale as well as the head of the first known private detective agency. Vidocq is considered to be the father of modern criminology and of the French police department. He is also regarded as the first private detective. Sounds like the basis for a hell of a story. Unfortunately The Emperor ... doesn't really come close to telling it.

Instead, after the above-mentioned introduction it decides to tell a tale of Vidocq, officially a wanted man, but unofficially obstinately attempting to seek an amnesty from authorities. To this end, he becomes like a free-lance vigilante contractor for police, using his past experience with underworld figures, to bring villains to justice, or execute them in the process. Regrettably we see virtually none of the skills that were going to set him apart as a criminalist. We do see some finely-choreographed action set-pieces and we do see Vidocq being aided and abetted on occasions, by both police and some of his former associates.But the story-line continually obfuscates, when it should be clarifying events. Allies become enemies and enemies become allies with little exposition. Vidocq gains an ill-fated companion in Annette and has a confusingly, enigmatic relationship, that I still can't figure out, with a baroness played by Olga Kurylenko. The conclusion infers that he is going to lead the Surete.

Indeed this film almost seems like a Gallic attempt at a franchise - starter, which I doubt will occur. I think director Jean-François Richet would have been better advised to concentrate on telling a broader, more factual story about Vidocq, whose historical exploits give much credence to the oft-repeated statement, regarding truth, being stranger than fiction.

Jean-François Richet's THE EMPEROR OF PARIS is a highly fictionalised and highly romanticised retelling of the early life of one Eugène François Vidocq- the notorious real life career criminal who survived the infamous "Reign of Terror" of the early 1790s to become the virtual "founding father" of France's first National Police Force.

The film's cast is excellent, with many of the heavyweights of modern European cinema (Vincent Cassel, August Diehl, Olga Kurylenko etc...) joining together with a younger generation of rising European stars (Freya Mavor, Némo Schiffman etc...) to breath real life into their characters with fiery, passionate performances. The characters themselves are mostly excellent: Vincent Cassel's Jean ValBond, August Diehl's sinister Nathanaël de Wenger (a role with clear shades of Diehl's scene-stealing turn in 2009's INGLORIOUS Bs as the monstrous SS Major Hellstrom) and James Thiérrée's Duc de Neufchâteau- swaggering into (and promptly stealing) each scene he's in whilst cutting a bloody path throughout the film with his hussar's sabre! The attention to set detail (though a large portion of the film's background environment is sadly digitally-mastered) and action choreography both make THE EMPEROR OF PARIS one heck of an entertaining ride! The film's only major problems are its pacing and its script.

You're never really allowed to get bored during this film, as Cassel's morally ambidextrous Vidocq grabs you by the scruff of the neck and drags you down into a murky Parisian underworld of thieves, burglars, cutthroats, killers and renegades. However, any significant character development is promptly sacrificed in the process and when several leading characters are killed off during the film's final act, it produces no real emotional reaction from the viewer. A shame really, especially considering the acting talent on display.

This film's other main problem is its script. The trailer portrayed a very different kind of film to the one we actually got: a former chain gang member-turned detective hunting a killer through the backstreets of Napoleonic Paris and dipping his toes into a ruthless criminal underworld. That's sort of what we got... but on a much smaller, simpler scale. The anti-hero (who very quickly becomes just an ordinary "good guy") goes straight from A to B and despite having a few genuinely thrilling twists and turns, the film has him arrive at his destination with very little deviation.

To me, it just feels like the film could've explored the world it was trying to create in a much deeper, broader way: prioritising the role of Maillard's underworld and Vidocq's hunt for a killer. What we got instead was a bog-standard action-adventure romp... which was perfectly fine! But (in my opinion) the film settles for far less than the story was actually capable of achieving.