Les Rivières Pourpres

Mathieu Kassovitz is probably one of the best directors in the world today. When I saw L'haine, his 1995 film, I was shocked by the evidence of American influence on French cinema. Not that I hadn't noticed it before -- it's quite obvious -- but this time, I was shocked because of the way Kassovitz uses it without hesitation and without apology, as if to say, "Hey, this is reality, deal with it!" Yes, cultural imperialism comes in humor, too, re: a L'haine scene when Vinz does a damned good impression of Robert De Niro with gangsta attitude! What is most impressive about Kassovitz's films are the underlying themes of respect for human diversity and of embracing change. His most recent film, Les Rivières Pourpres, tells the story of an academic communal, closed off by natural forces (the Alps) and human menace. Jean Reno (one of the best -- and best-looking -- actors of all times) and Vincent Cassel play good cops trying to find the "bad guy" who keeps murdering people -- in extreme and cruel ways. It's your basic action model -- high-speed chases, guns and yelling, music accompanying specific scenes to induce high emotion -- so the viewer really doesn't have to think?very Hollywood.

In the end, the duo -- old cop who is scared of dogs (another movie, perhaps) with young cop who's not -- uncovers not just a culprit, but an entire system supported by a few generations of bad blood, literally. A system based on the Nazi idea of the "perfect" human. Kassovitz's social criticism also extends to academia. The "educated elite" tend to assume they have the answers, while consistently ignoring some basic and pertinent facts about reality. In the film, Kassovitz plays with his old theme -- corruption. Systems are corrupt, but people are corrupt first. His distaste for police and military is why we get to see officers doing stupid s_ _ _ _ that is both funny and (unfortunately) accurate.

The hands are the most unique appendage on the human body and, spiritually speaking, hands denote deeds well done. The eyes are the windows to the soul. In Les Rivières Pourpres, the killer cuts off the hand and cuts out the eyeys of his victims. Kassovitz is saying these systems not only have the power to strip us of our identity, but they can also cause us to become soulless! From academic environments to the military, these structures trap us between walls of hypotheses, rhetoric, dogma and indoctrination and the effect is aggression towards diversity and change and indifference. The American blockbusters control the viewer's every emotion with intense sound and image. Nothing is subtle. It is somewhat sad to see the French imitating (and doing it well) Hollywood, because I adore "foreign" films -- the subtlety and simplicity in them. But this is exactly what Kassovitz understands and wants to challenge -- POV melting pot. Anyway, what's superior cinema? Something like the superior race, perhaps?

Written by: Rachael K. LeValley

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