A Lei de Quem Tem o Poder

This is one of my favorite films. After all these years, it holds up beautifully. It's surreal, funny, tragic, strange, and somehow all holds together.

Noiret is wonderful, and a great foil for Huppert, with his hang-dog looks and understated acting. Although he plays a policeman, Noiret's character makes his own decisions about justice without the need for pesky government interference.

Isabelle Huppert and Stephane Audran are also perfect in their roles.

The cinematography is superb, with beautiful shots of Africa.

It's hard to categorize this movie, but Coup de Torchon is a must see! I think I've seen it 4 times.

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.

There is something repulsive in this noirish tale of amoral behavior and violence among French colonists in an African country in the late 1930s. Doltish Lucien is a sheriff who is (sometimes literally) kicked around by the people in his life - until he somewhat randomly decides to start offing those who impede his progress. And why does he walk around looking more like a tourist than an officer of the law? His murderous behavior becomes increasingly horrifying, until the story surprisingly turns somewhat philosophical towards the end. There are some fine performances and location filming. This is no classic, but it is worth a look. Based on a Jim Thompson novel.

To say that novelist Jim Thompson has been badly served by American directors would be something of an understatment as the only worthwhile version to emerge from Hollywoodland, 'The Grifters', is directed by Englishman Stephen Frears. Apart from that, one has to look to France for the two adaptations that capture Thompson's spirit and do him justice, namely 'Série Noire' of Alain Corneau, based upon 'A hell of a Woman' and 'Coup de Torchon', adapted by director Betrand Tavernier and legendary screenwriter Jean Aurenche from 'Pop 1280' with the setting transposed from Texas to Senegal.

The change of location to French West Africa is inspired as it suits perfectly Thompson's bleak view of the human condition with its lazy, morally vacuous, corrupt colonial officials and assorted low lifes. The linchpin of the film is the transformation of complacent police chief Cordelier from buffoon to judge, jury and executioner. He is so cleverly played by Tavernier's favourite actor, the superlative Philippe Noiret, that one can neither condone nor condemn him nor dismiss him as a lunatic. Audiences through the years have shown their admiration for vigilantes but for this viewer at any rate, any regard for Cordelier's actions are soon diminished.

Noiret's superb performance is complemented by those of Isabelle 'super' Huppert as his horny-as-hell mistress, Stéphane Audran as his unfaithful wife, Guy Marchand as his bigoted superior and the always good value Jean Pierre Marielle again showing his versatility by playing two brothers. Irene Skobline plays the schoolteacher whose comparative innocence attracts Cordelier and it is a great pity that her film career did not progress any further.

The cruelty and cynicism of the piece is balanced by the visual elegance one has come to expect from this director, whilst the production design is by Alexandre Trauner and the sun-drenched cinematography by Pierre William Glenn who also shot the aforementioned 'Série Noire'. Although the steadicam has been over used in recent years it is here extremely effective.

Throughout the 1970's Tavernier had come to be regarded as a 'humanist' director so this came as something of a surprise. It proved a commercial but not a critical success. It is an ambiguous, unsettling, fascinating film and now that nations have been forced to come to terms with their colonial past, it is more relevant than ever.

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.