Tell No One (2006)
An intense, constantly evolving ambush of suspicion, including an epic footchase in the center of the movie and a couple final twists that will rock you at the end.
The leading character, Alexandre, is central throughout, played with drawn poker-face by Francois Cluzet. You might even say he overplays his sobriety, because he's not so much impassive in the face of upheaval as blank to it at times. But overall it's what he is, this man who faced a personal tragedy eight years earlier and now still struggles with the truth of it.
And we all struggle with this truth. Once the initial murder happens we are struck by the absence of a body. And by a feeling that something isn't what it seems. When the police re-interview Alexandre after eight years (which seems to be long enough for a statute of limitations declaration, though I don't know French law), we suddenly suspect him of either the murder or of complicity. There are new facts. There is a suspicious sighting in a surveillance video. There are his own doubts. And our doubts about his doubts.
The cast sprawls a bit at times--there are four main women, and several lesser men, so keep alert. The father and the father-in-law, the girlfriend's girlfriend, the sister, the lawyer, and so on. And it is the unfolding of conversations and stories and confessions that make the truth come out, one of those cases of telling rather than showing what happened. By the end this becomes a huge weakness in a movie that had so much shown and so much action until the last half hour. The twists are so huge, and played out with a couple of re-makes (so that the same actors replay the scenario differently now that the facts are rearranged), it's slightly flabbergasting.
If you don't mind having the wool pulled over your eyes this way (in a way you can't object to), you will be impressed by the overall tone of things. There is the energy and worry of a good American adventure crime film with fewer pyrotechnics and some convincing realism, both welcome in a world of overly produced movies. And the chase scene is notable--the man gets tired and sweaty, he has a lucky break or two, and then there's a brilliant if unlikely entry of a side of Paris we don't often see in mainstream movies, the minority neighborhoods with their brooding anger against the police which reminded me of late 60s America. It's a short insight.
If this seems like your arena at all, I'd definitely give this a look. We're all pretty used to unlikely twists by now, anyway, so the rest of the movie will hold itself up well.
An intense, constantly evolving ambush of suspicion, including an epic footchase in the center of the movie and a couple final twists that will rock you at the end.
The leading character, Alexandre, is central throughout, played with drawn poker-face by Francois Cluzet. You might even say he overplays his sobriety, because he's not so much impassive in the face of upheaval as blank to it at times. But overall it's what he is, this man who faced a personal tragedy eight years earlier and now still struggles with the truth of it.
And we all struggle with this truth. Once the initial murder happens we are struck by the absence of a body. And by a feeling that something isn't what it seems. When the police re-interview Alexandre after eight years (which seems to be long enough for a statute of limitations declaration, though I don't know French law), we suddenly suspect him of either the murder or of complicity. There are new facts. There is a suspicious sighting in a surveillance video. There are his own doubts. And our doubts about his doubts.
The cast sprawls a bit at times--there are four main women, and several lesser men, so keep alert. The father and the father-in-law, the girlfriend's girlfriend, the sister, the lawyer, and so on. And it is the unfolding of conversations and stories and confessions that make the truth come out, one of those cases of telling rather than showing what happened. By the end this becomes a huge weakness in a movie that had so much shown and so much action until the last half hour. The twists are so huge, and played out with a couple of re-makes (so that the same actors replay the scenario differently now that the facts are rearranged), it's slightly flabbergasting.
If you don't mind having the wool pulled over your eyes this way (in a way you can't object to), you will be impressed by the overall tone of things. There is the energy and worry of a good American adventure crime film with fewer pyrotechnics and some convincing realism, both welcome in a world of overly produced movies. And the chase scene is notable--the man gets tired and sweaty, he has a lucky break or two, and then there's a brilliant if unlikely entry of a side of Paris we don't often see in mainstream movies, the minority neighborhoods with their brooding anger against the police which reminded me of late 60s America. It's a short insight.
If this seems like your arena at all, I'd definitely give this a look. We're all pretty used to unlikely twists by now, anyway, so the rest of the movie will hold itself up well.