Les marchands de sable

Remarkable "black" script, remarkable direction, remarkable actors.

We can only regret that the characters are so very dark: incestuous lovers, drug petty dealers, thieves, maffia type `avuncular' godfather, the only good Samaritan appearing as stupid.

Nevertheless do not miss this excellent B movie and keep an eye on the actors' as well as the director's next production.

When it comes to pen and produce genuine comedies such as "Cible Emouvante" (1993), "les Apprentis" (1995) or "Comme Elle Respire" (1998), Pierre Salvadori is a reliable supplier of the genre. "Les Marchands De Sable" is his first foray in the film noir genre and one could have feared that by plumping for a totally different cinematographic choice, it might have led on an artistic deadlock for him. There's nothing of the sort. This endearing director wasn't on the wrong track and his venture is every bit as successful as the crop of graceful comedies he left us. I can only write that he well assimilated the film noir methodology.

The director cleverly employs the scenery and lighting (in several shots, he admirably plays on the opposite between light and obscurity) to conjure up a stifling, sticky atmosphere and storytelling, barely soothed by a somewhat jerky reggae music. Under his camera, this popular neighborhood in Paris with the two cafés as the central places conceals bribery, injustice, drug traffic and formidable evil forces. Gloomy features that deftly integrate in a shrewd development of the narration with zones of shadow: was Antoine's death a willful murder or an accident? Strong scenes command admiration: the walk of Antoine in the street shortly before his death, the moment when Annick (Michèle Moretti) unveils to Alain (Serge Riaboukine) what lies beneath the calm appearance of her bar. All in all, virtually all the characters are more victims of a devilish system that inevitably leads to death or madness.

The cast lives up to this dusky film noir. Guillaume Depardieu and Serge Riaboukine had already teamed up with Pierre Salvadori before and once again, one can't deny their strong acting.

The golden age of the film noir in France was in the forties and fifties with two prestigious names: Henri-Georges Clouzot and Julien Duvivier. Nowadays, this genre isn't that much pored over by French directors and good French film Noirs tend to be more and more rare. So, it would be a shame to skip it Pierre Salvadori's work that doesn't break new ground but is made with care and respect.

I am surprised that no one has yet noticed the many elements in common between this film and TCHAO PANTIN. Same district of Paris, same atmosphere and nearly same topic. A simple citizen, owner of a bar, who gets involved in drug traffic because of the death of a petty drug dealer whom he had a friendly relationship. Only the female character - the victim's sister - is different from the Claude Berri's feature. Excellent drama with many things belonging to the crime or noir genre. Pierre Salvadori brought us later DANS LA COUR, also a scheme of characters living around a specific place. Here it is question of a Paris district, where everyone knows every body, and in DANS LA COUR, it was question of a backyard between old buildings. In both films, we deal with a study of relationships between interesting characters.