Réjeanne Padovani

I saw that movie many years ago in a Quebec cable channel. When I watched it, on my opinion, it came to me that money rules power, power rules the law, the law sets the rules, and the rules are full of corruption...

Mob boss and contractor Padovani (Jean Lajeunesse) invites many top guests, including a Quebec MP, the mayor of Montreal (Rene Caron) in his home for a reception to celebrate the opening of the Trans-Quebec highway (in reality the Ville Marie Highway in Montreal...). Women, including the sultry and sexy mistress of Padovani (Celine Lomez) are there to accompany the men or entertain them (mostly in a sexy way...). Downstairs, bodyguards and police agents protecting those VIPS are playing pool or having a drink, among these a hitman (troubling Gabriel Arcand, Denys's brother...) waiting for a next hit, but might be close to get a new "contract"...

But two incidents occured: an upcoming protest by a group, angry that their houses were demolished to make place for the highway, is stated to disturb the inauguration... And Padovani's ex-wife, Réjeanne (excellent Luce Guilbeault) wants to come back into her ex's life. The latter is reluctant because she went away with a rival Jewish mob boss. Suspecting she's too dangerous, he must face a decision... And an accidental tip from paparazzi journalists roaming in the property (and stopped by the rowdy security...) might give him a key to shut up the upcoming protest stated for the opening day...

This movie, done by the excellent Denys Arcand (the mastermind behind Jesus of Montreal, the Decline of the American Empire and the latest hit The Barbarian Invasions...), is well written though slow, performances are excellent, and scary too: a good example of how politics and corruption, represented by organized crime, even cops and hitmen are mingling together, while their bosses are celebrating upstairs their latest coup, paid mostly by taxpayers and Mob greed...

An entertaining movie, filled with reals images at the end of the movie of the housing demolition that occured when they built the real highway (symbolic that rich power is killing the poor and desperate souls...)

Let's try to forget, for just a moment, that this is a Canadian fiction film that actually has something to say about the real world, that it actually vents rather than channels collective anger - to the point of casting lookalikes of the then-current Montreal power structure, and portraying them as unutterable monsters to a man. And let's not get into how genuine or enduring or correct Arcand's radicalism might be; let's talk about what a fantastic movie he makes out of it. The camera seems to hide in the corners of this mausoleum-like mansion, lingering over entrances and exits until they become the content: the conduction of power and command. There's no mistaking the class commentary of the parallel parties in the dining room and basement. But the king's messengers - inarticulate, glowering, self-absorbed - are far from helpless victims. Nor does Arcand idealize the women who wander from partner to partner seeking their cut of the good life. This movie absolutely nails the sensual allure of wealth and comfort even as the emptiness is laid bare - a percussive shock cut to a close up of pants being unzipped almost steals the whole movie. Until the denouement, that is, where we learn all too clearly the consequences of underestimating the evil powers at play: appeals to human decency will not cut the mustard. In other words, this tiny, claustrophobic movie is actually an epic of human tragedy - a visionary one, and just about perfect too.