L'Empereur de Paris

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.

"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.

L'Empereur de Paris is a nice movie that takes us back to the times of France under the rule of Napoleon. The great performing Vincent Cassel plays Francois Vidocq, an ex-con who hunts down the most notorious criminals of the Parisian underworld to get a pardon in return for his services. Fantastic settings and costumes and a very good cast take us back in time and give us a relatively close authentic portrait of the era of Napoleon. Directed by Jean-François Richet (known for a broader audience for Blood Father with Mel Gibson, and the remake of Assault on Precinct 13 from 2005) The Emperor of Paris is a fine movie if you like to watch movies/stories like Les Misérables, The Count of Monte Cristo, Oliver Twist, The Duelists, Gangs of New York, and of course the Vidocq movie with Gérard Depardieu (2001).

It was quite hard to watch it till the end. All decorations, costumes, details are magnificent. But that's all. Characters are dull, acting is lifeless. Better watch Vidocq (2001) one more time.

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