Having just re-watched Stephen Verona’s The Lord’s Of Flatbush, I was shocked by two things. First, it’s simply an excellent little film. I was able to pick up on many details that eluded me when I was younger, which probably means that I’ve grown as a critic and artist. Second, it has garnered pretty average reviews, and although it deals with a similar problem – a few losers trying to grow out of adversity – it is vastly superior to Matthieu Kassovitz’s La Haine (The Hate), which suffers for being precisely what Lord’s isn’t: didactic, heavy-handed, and unable to balance the film’s anomie with good narrative. La Haine simply goes on and on through pointless scenes and dull conversations where Lord’s makes this palatable by giving its characters depth, irony, and poesy – even if they themselves are too dumb and immature to see it. They get in, get out, and linger only to deepen things within their purpose. After all, a good director does not simply drop characters into a fictive world only to record every boring detail, like the endless string of corny jokes in Haine, or the all-alighting prose of a Toni Morrison. There needs to be a filter that guides whatever’s interesting and deep TO the screen, and only then can the viewer’s imagination truly play off of it. Thus, in Lord’s, it’s really a matter of economy, where Verona truly shines. Give the mind a few strong images, seeds, and threads, and watch them grow to peaks the director only hints at, which only seems to deepen the visual experience the longer you are away from it. La Haine doesn’t trust the viewer enough to be able to do this, and by trying to explain every cliché it throws at you, becomes its own worst explanation.
La Haine follows a day in the lives of Vinz, Saïd, and Hubert, three friends of Jewish, Arab, and African origins living in the housing projects a bit outside of Paris. After their friend Abdel is brutalized into a coma by the police, Vinz riots with the rest of the neighborhood, finds a police officer’s gun, and keeps in order to “get revenge.” The movie opens to some overlong footage of rioting while KRS-One’s “Sound Of Da Police” ridiculously plays in the background – Kassovitz really wanted to set the film against a hip-hop backdrop, even if, apparently, the clunky and obvious song choices make the artistry all the worse for it. But, La Haine is also “socially aware,” and what better way to express that idea than to shift to Bob Marley’s “Burning And Looting” for the remainder of the riot? Again, I don’t see how the director failed to mark the obviousness of these audio choices and, even worse, failed to amend them. Thus, just a few minutes in, we already get the basic problems that will plague the film’s remainder, which is especially frustrating given the (very) few “high” moments here.… Continue reading →