Hate

Reminiscent of Costas-Gavras' film Z with its rapid-fire dialogue and staccato rhythms, La Haine (Hate) directed by 28 year-old Mathieu Kassovitz, is a passionate look at racial tensions at a Paris housing project. Although drug dealing, urban decay, and police brutality have been shown in films before, rarely have they had the sense of vitality and urgency shown in La Haine.

Three friends from different ethnic backgrounds live in the Bluebell housing projects on the outskirts of Paris. This is not the Paris of travel brochures or films like Amelie, but a desolate urban landscape, harsh and grim with housing projects that look as if they could be in any big city in the world. Vinz (Vincent Cassel), is a working class Jew; Hubert (Hubert Kounde), the most intelligent and self-reflective of the three, is an African boxer; and Said (Said Taghmaoui), an Arab from North Africa is younger but just as embittered.

The film depicts their rage against the police whom they see as oppressors. Marginalized economically and politically, without jobs, parents who care, or hope for the future, the streets are their home and they are open targets for police who are shown as brutal and racist. In one startling scene, a veteran cop taunts and physically abuses Said and Hubert while training a rookie cop. The rookie can only look on and shake his head in disbelief.

Shot in black and white, La Haine shows a single day in the lives of the three friends. Following a major riot in which a local teenager, Abdel, is critically wounded by the police, Vinz, the most volatile of the group, vows that if Abdel dies he will kill a cop to get even. Hubert wants to restrain him, and Said doesn't seem to care either way, as long as he can get his money from a drug dealer named Snoopy. When Vinz finds a Smith & Wesson 44 lost by the police during the riots, the spiral of violence escalates and builds toward a memorable conclusion.

La Haine does not offer any solutions to social problems but clearly shows the anger and frustration of people who feel trapped by their circumstances. In its depiction of a society in free-fall, it also has immediacy. Three weeks after the film was released, riots broke out in the Brixton section of London, following the death of a young black man in police custody. Though it is a wake-up call for action on society's growing gap between rich and poor, La Haine makes a powerful statement that violence does not solve anything and that hate begets hate. Someone should pass the word to a few of the world leaders.

This is a film that aims to present the yearnings of the poor and brown/black in the simplest and truest form possible. Everything for Vinz is black and white, while Hubert's world is shaded in grays. Saïd is just doing his best to keep up. Through the three main characters, our own thoughts on the state of society (police brutality, poverty, etc) are revealed. That's the beauty of the film. It asks you the questions instead of serving you the answers in a way that's not preachy but encouraging. And that ending...

La Haine aka Hate is a story about three friends living near Paris in France (one Jew, one Arab and one black) who have nothing special in their lives and try to live a day at a time by drinking and having a good time and also working (at least the black character, who owns a boxing hall). Their friend, however, is captured by a police which tortures and maltreats him so badly that he is sent to a hospital in a critical condition. This makes the youth gangs in city including the three protagonists start a war against the police and authorities for the horrible wrongs they and their friend have suffered, and suddenly they notice the whole society is collapsing, and all there is is hate and need to revenge...Violence and mayhem is almost everywhere, including authorities which should do nothing but fight against it..

This film is powerful and grim. Totally unforgettable is the last scene which at my first viewing time blew me away. It comes very suddenly and there are no warnings what will happen at the end of this film. The message is so important and these marks of the "apocalypse" can be found in our everyday life everywhere. The society is falling and it is "spinning" as the voice over says just before the end credits..The film brings into question such horrific facts as racism which should have passed away long times ago, but no. Racism is such a primitive, stupid and despisable cancer among people, that there is no hope of better future if individuals don't understand the real facts of life and right ways to live with each other. Hate feeds hate as the character Hubert says, and that is something that our stupid race has not learned.

There is one very powerful scene just before the end scene and it deals with a skinhead and these three characters who could kill him right away and pay something back. It is very challenging scene and even Vinz, the most revenge seeking character, starts to see things different way after that. The whole point of La Haine is violence in all its forms. Why there is violence and why the hell it is used so often everywhere in every form? Don't we ever learn? These kind of films are important and so powerful that unfortunately people who should see them don't want to or they can't bacause it would be as a mirror for them..

The film is also a comment on power used by police as they are pretty tough and hard in this film. Police think that they can use any methods in order to get some answers, or in order to have some fun..It certainly doesn't judge police as "pigs" or violent sadists in general, but it is a warning example of what must NOT happen anywhere ever, by police or by others. One has to see through the film and to its core in order to understand what it says. Otherwise there is no point in watching these kind of films. La Haine is that kind of a film that it should be seen by police and youths as well, because there are still possibilities to prevent things to go too far in our life and world we live in.

The camera techniques used in this film are magnificent. Director/screenwriter Mathieu Kassovitz uses camera so smoothly and passionately and there are many similarities in techniques between this film and his more recent, Assassin(s). I am very happy for this young talent to have won the director's award at Cannes. These kind of talents deserve their prizes because there are so many stupid and worthless films which don't have nothing artistic in them and have nothing to say, and are just mindless and greedy entertainment. The black and white is very great element and the film strikes greatly without colors. The same case is with the Belgian classic Man Bites Dog, by Remy Belvaux, Benoit Poelvoorde and Andre Bonzel.

A great masterpiece in French modern cinema and recommended for the fans of intelligent and important cinema so seldom found from big studios or Hollywood (there are exceptions, of course) nowadays.

10/10

Moviemakers when filming French based films have traditionally tended to sentimentalise the ‘people' through the celebration of les petits gens, the little people of Pagnol and Clair as well as more recently the fantastical Parisian wonderland environments of Amelie and Moulin Rouge. With La Haine, young director Mathieu Kassovitz took the flipside of this and gave an illustration of the awfulness of life in the depressed blue-collar areas of Paris

La Haine (‘Hate') begins after a night of rioting on a dismal housing estate on the northern outskirts of Paris and focuses on 24 hours in the lives of three close friends aged around 20. They are Vince (Vincent Cassel), an explosive working-class Jew, Hubert (Hubert Kounde), a handsome, soft-spoken black, and Said (Said Taghmaoui), a mercurial streetwise Arab. With little hopes or prospect of regular employment due to where they come from, the trio drift aimlessly, engaging in petty theft, and seething with aggressive resentment against an uncaring world. L'Avenir c'est nous (We Are the Future) is the ironic slogan on the estate's playground, but this is a film about people who believe they have no future.

The quality of the performances from the 3 main actors, their conviction, the way they interact with one another and the vigour and fluency of Kassovitz's script and direction make this a very special movie indeed. Its full of action, detail, unexpected incidents and quirky humour. For instance, the boys have a bizarre encounter in a public lavatory in central Paris with a diminutive survivor of the Gulag that is as puzzling to them as it is to us. Does the story the Gulag survivor tells them have a deeper meaning than on the surface? Of course it does, and importantly this film makes you think as to what the metaphor means. Throughout violence is always on the point of erupting. There are constant confrontations with a brutal, racist police force, and Vince has a 44 Magnum revolver that a plainclothes cop lost during the riots, which we know will eventually be used on someone. However none of this ever descends into mere gratuitous violence like so many Hollywood films

La Haine presents a state of affairs of the alienation faced by many young people in the ‘projects' in France, and all over the world. It doesn't offer any solutions, though the point is forcibly made that in France, as elsewhere, parts of the police force are part of the problem rather than the solution. Of course, much of what we are shown is familiar to us from British and American films .

The strength of the film is that it neither glamorises nor patronises its characters. They hate their life because it's boring, and they despise the society that's created it for them, together with parks, football fields and a few mod cons with which to comfort them. In particular, they hate the police, who hate them right back. The film's other major achievement is to show in a tangible and very expressive way how a cycle of distrust and anger is created on both sides of this awful divide, so that there is very little anyone can do about it. In other words violence and hate breeds more violence and hate.

A criticism that could be levelled is that in the US / UK versions the sub-titles don't help, pushing what is very authentic dialogue into something more like cliché, as well as pointless miss-translations that occur. However this is just a minor thing, and does not and should not reflect at all on the film itself.

This certainly is one of the greatest films of the 1990s. Its one of those rare films that you will think about for the days and weeks after – not solely about the film itself, but on wider issues such as society, poverty and racism.

"La Haine", probably one of the most momentous French movies of the nineties caused a stir when it opened in 1995 so much so that it became a big social phenomenon. It heralded a genre: the "film De Banlieue" whose backdrop is high-risk French suburbs and in its wake, other movies emerged like "Bye-Bye" (1995) or "ma 6-T Va Crack-Er" (1997). "La Haine" remains Mathieu Kassovitz's best moment. Afterwards, he didn't cease to disappoint me. "Assassin(s)" (1997) left me uncomfortable and queasy and "les Rivières Pourpres" (2000) was an absolute turkey. I haven't seen "Gothika" (2003) but he shot it with the Hollywood presence on his back and I fear the worst.

To better be immersed in his plan, Kassovitz shot his film in one of these high-risk French suburbs (I can't remember its name but you can check it in the "filming locations" rubric when you arrive on the page of the film on this site). This gives his movie an ultra-realist sensation which rings true. In the space of a day, his camera follows a threesome of ruffians. There's Vinz (Vincent Cassel) who acts the tough guy. He is proud of having stolen the gun of a cop and hopes to make good use of it. When he is asked to make an effort of reflection, he loses his temper. Hubert (Hubert Koundé) a pacifist who craves to get out of this daily hell but where to go? He also knows that hate breeds hate. It's both the catalyst of the riots and adds fuel to the fire in the incessant conflicts. And also Saïd (Saïd Thagmaouï), a brazen teenager. The three of them wander in their neighborhood and in Paris between visiting of friends, relationships with the riffraff, the police, arguments, reconciliations and foolish things. An ordinary day during which the trio appears as prisoners of their suburbs and have a life with no horizon. A day which will lead to the inevitable, marked out by the time which often appears on a black screen.

Kassovitz did his best to create a stylish film and it paid off well. It was a good idea to have shot his film in a black and white cinematography because it bestows it with a very gritty aura; sometimes there's a documentary whiff which pervades the film. His camera work which commands admiration makes juxtapose travelings, static shots and circular movements according to the vibe a sequence could convey. It also helps to enhance the scenery which is perhaps the fourth main actor of the film after the trio. Overrall, his film is a hard-hitting assessment of a faltering universe (the high-risk suburbs) in which latent tensions and hate reign and it can awake at any time in violence. This hate in question which the inhabitants of these suburbs feel towards the cops is also smoldered in the cops and I wonder if Kassovitz indicts their sometimes intolerable demeanor, especially when some ruffians are kept in police custody. In the beginning of the film, the audience learns that a suspect, Abdel is in a coma at hospital because he was badly injured by the cops during questioning. When they learned this, the toughest guys of these suburbs sparked off a riot. In a way, the attitude of the police helps to fuel the hate and to separate farther the gap and the incomprehension between the inhabitants of these suburbs and the police. That said, Kassovitz doesn't generalize. Not all the cops are monstrous. Check the two sequences when in the first one, a policeman tries to make the riffraff understand in a sensible manner that they can't stay on the roof of a building and the second sequence when Vinz, Hubert and Saïd are in Paris and they ask their way to a policeman who guides them in a polite way.

The actors were discerningly chosen and perfectly directed. It seems that Kassovitz fostered improvisation. It was the right method to confer his film with an authentic feeling. They deliver dialogs full of slang, coarse lines and sometimes they're inaudible so you'll have to be very attentive to catch what they say. However, this drawback isn't really irritating and was surely wanted by the director to reinforce the unique spontaneity of the film. With his build and his face of ruffian, Vincent Cassel was ideally cast as the stubborn Vinz while his two main partners are amazingly true to life. And there are some famous French actors who have cameos and who weren't afraid of having demeaning parts like Vincent Lindon, a drunkard or Zinedine Soualem, a sadistic cop.

Kassovitz remains as objective as possible and doesn't offer solutions to solve these problems. More than ten years after it reached the streets, his films is still a topical one and the riots and violent incidents which broke out in high-risk suburbs in many French cities the last fall alas show that these tensions aren't alas ready to subside.