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In the Beginning (2009)
"À l'origine" (original title)

7.2
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Ratings: 7.2/10 from 1,507 users  
Reviews: 9 user | 22 critic

France, present day. A professional conman passes himself off as the boss of a construction site building a highway extension. He cons the whole region, hires dozens of workers and ... See full summary »

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Cast

Cast overview, first billed only:
...
Philippe Miller / Paul
...
Stéphane
...
Abel
...
Monika
...
Nicolas
Brice Fournier ...
Louis
Franck Andrieux ...
Pascal
Stéphan Wojtowicz ...
Marty
Patrick Descamps ...
Bollard
Stéphane Jobert ...
Patrick
Eric Herson-Macarel ...
Barracher
Patrick Bonnel ...
Cadre CGI
François Loriquet ...
Cadre CGI
Nathalie Boutefeu ...
Marie
Corinne Masiero ...
Corinne
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Storyline

France, present day. A professional conman passes himself off as the boss of a construction site building a highway extension. He cons the whole region, hires dozens of workers and cynically enjoys the profits of his scam until he meets the lady mayor of a small village that the road will go through. She intrigues and unsettles him, before revealing to him a world he never knew: feelings. How far will he go now to save his victims and save himself from his own lies? Written by The Film Catalogue

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

11 November 2009 (France)  »

Also Known As:

Crónica de una mentira  »

Company Credits

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Technical Specs

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Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Laurent Leguevaque was really a French judge who worked on the case which the movie is based on. See more »

Goofs

While Philippe Miller runs across the construction area after the siren goes off, he falls on the ground and gets his right sleeve covered in mud. In the next shot when he has resumed running, the sleeve is clean again. See more »

Soundtracks

Pedro va au Brésil
Written by R. Pazzi, St. Albertus and B. Plumo
(1997)
Performed by the 'Batterie Fanfare de Cambrai'
Courtesy of and Copyright: Now Discs
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User Reviews

 
Confused? Or "conned"..?
12 April 2012 | by See all my reviews

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'.


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