À l'origine

Nowadays the French have come up with a renewed 'cinemà verité' formula , but it's based on social issues...ordinary folk, factory workers, union struggles, and the unemployed. Director X.Giannoli is foxy, but NOT as intelligent as he thinks. We are spoon-fed a story which becomes increasingly improbable, but which is sold to us with all the ability of... a con man. In this case, the director himself. Judging by a comment I have just read in this Data Base, he has found at least ONE dupe.... Con-Man stories can be very intriguing, in literature and in movies. Giannoli's skill is in the 'feel' he gives the movie... a truly 'documentary' cut, jerky but subtle photography; unusual actors...mainly the two lead female roles... and , of course, Depardieu whose now customary flabby, and 'whogivesadamn' look and attitude make us believe, and hope, we're in for some serious, provocative cinema. But, alas, things go downhill fast. Chance, and a vaguely comic misunderstanding, lead us up the garden path to a sequel of highly unlikely events (justified by the usual 'based on a true story' prologue). Far from wishing to spoil the potential viewer's curiosity, I shall only say that, as the film draws to a (flimsy) finale.... I, and I am sure , many others, start mentally collecting the highly improbable 'plot points', and end up feeling , well.... frustrated and somewhat cheated. Giannoli has done a variety of good things, but one too many smart ass tricks. The female protagonist is a courageous choice, given her not too graceful appearance. Mr. Cluzet is fine, until he,literally 'bares his teeth', luckily well into the story. The 'rescue scene' is strangely 'Hollywood'; out of keeping with the otherwise fairly austere style chosen by the director. Maybe the first sign that something is awry, comes with the whirling carousel of construction machines, trucks and 'catterpillars' which suddenly spring out of nowhere. Not only do they torment the protagonist, they warn the expert film-buff that he/she is in for a few, not too credible, surprises. Or Rip Offs. And Depardieu? One suspects he was doing the director a little favor here. His two appearances are all too brief and his celluloid 'au-revoir' is downright embarrassing. On an ethical level, too, the film is lost at sea. And those typical printed lines which appear on the black screen as an epilogue, seem to mop up the messy floor that director Giannoli leaves us with, A few sloppy and weak 'explanations'. Have I been too harsh? Maybe. But you see, I don't like being 'conned'.

In cinema, France is often presented as a hub of culture where all kinds of people are shown hanging around cafés while sipping huge quantities of café. They are represented on screen as living in nice houses with book shelves full of literature books. A l'Origine presents a completely different image of culturally rich France. It is a realistic portrayal of France especially in its apt depiction of all turmoil related to fragile job market. Director Xavier Giannoli shows a crook who has always remained reluctant as hesitant fear always shone on his face. As usual French actor François Cluzet is superb as a different type of crook- one who would not at all hesitate to put his personal, ill gotten wealth to let his project succeed. About François Cluzet it can be said that he has never attempted to become a 'star' as time and again his brilliant acting performances have assured him a permanent place in the realm of French cinema as an "actor of quality". Emmanuelle Devos' performance is amazing in a supporting role as a small town mayor who does not think much before falling for a hesitant conman. This film also features a minor yet essential performance by legendary French actor Gérard Depardieu. He would play a lead role in "Quand J'étais Un Chanteur" / When I was a singer directed by Xavier Giannoli. In the wake of numerous incidents of suicides by France Telecom employees who collapsed due to enormous work pressure, A l'Origine makes a lot of sense as a film which tries to find why some people would go to any extent to earn easy money. One needs to simply watch how a whole town has gone crazy with the sudden arrival of a conman with kids making paintings and a father sitting proudly with his son in a dump truck with people cheering them. This film is your chance to feel happy in life by watching giant trucks used in constructing highways.

This movie is an exercise in story-telling and it carries us almost right to the end (where there are a couple of hackneyed devices). Our hero is a screwed up thief who gets involved in an enormous project way beyond his abilities or finances, and his life becomes a parody of many people's business style (including the bank-managers's). So the story takes us from his con-tricks through to the local community latching on to him (it's really not his fault) and pushing into completing the abandoned by-pass. It's then all about employment, so it develops on several levels. In the end, it's a crackdown on our sleazy-turned-heroic Francois Cluzet by the gendarmes and we read a few cue-cards about how it all worked out. Apparently our hero disappeared after serving his prison sentence --- perhaps he learned a movie was going to be made. We felt sorry for the widowed mayoress who strayed into his arms, but that's life...Highly recommended.

Paul is a small-time crook, ripping off construction businesses by usurping identities and reselling equipment he acquires. His travels bring him to a small town where his false identity (Philippe Miller) brings hope that a stalled highway construction project will finally get underway and let the inhabitants get out of the financial crisis they are in.

Town folks and local companies are all too eager to trust this stranger who inadvertently brings hope and when they begin to talk numbers and even bribe him, Paul decides to seize this golden opportunity. At first, he is awkward in his Philippe Miller persona but quickly gains assurance.

This part of the story plays much like a false identity con, not unlike Spielberg's Catch Me If You Can. But lately, French cinema has excelled in portraying work, economic and social issues and this film is no exception. The more "Philippe" stays in town, the more he gets to know the people in this town, their hopes, dreams and their problems.

And so, the line begins to blur between Paul and Philippe, especially as the project itself takes life. Of course, suspicion arises every so often about whether "Philippe" is really who he pretends to be but are always rapidly squashed, because "at least, things are happening".

What is fascinating is to see almost the whole town, in a certain way, complicit with Paul's scam-turning-into-good-deed. Even Paul himself forgets about the easy money and becomes obsessed with finishing the highway project. We as viewers can't help but wonder if the townsfolk couldn't have made it happen by themselves had they had common will to do so.

The movie becomes less and less about a heist and more and more about project management by a man way over his head. The direction by Xavier Giannoli is tight, evocative and right on target. The amazing score by the underrated Cliff Martinez is perfect and beautiful, immersing us in this story that is part drama, part thriller. The entire cast was well chosen and all are believable but this is very much a film following lead actor François Cluzet, one of France's best actor who keeps on getting better and better even in his 50s now. Cluzet oozes charisma and could lead any big production.

People who enjoy thrillers such as the aforementioned Catch Me If You Can or dramas such as Up In the Air should have a great time watching this great film that tells an amazing and original story inspired by true events that took place in the 90s.

If honesty and a productive life are important to you, this is a must see movie. That is, if you like an emotional horror story.

It is about a conman, played by François Cluzet, who is mistakenly assumed to be someone in charge to finish a highway. This gives him the opportunity to rip off lots of people but to maximize his profits he has to stay and masquerade as the big boss - which he does.

And then he falls in love with the way of life a real man in charge would have. He falls in love with creating something. And he falls in love with a woman.

What follows is sheer horror unmatched by anything I have ever seen. The emotional hell for this guy is portrayed so convincingly by Cluzet that your stomach turns and at times it almost becomes unbearable to watch.

Truly incredible movie. Go see it if you have a chance!!