In the underbelly of the Parisian criminal world, the Police are frustrated by a gang committing a series of violent robberies. Leo Vrinks and Denis Klein are two cops seeking promotion, ... See full summary »
At twenty, all Maria wants to do is live life to the fullest. She lives with her benevolent, but aging parents. Other characters are: Linda, her best friend, the dredger Manu, Bouboule, her... See full summary »
A police sergeant must rally the cops and prisoners together to protect themselves on New Year's Eve, just as corrupt policeman surround the station with the intent of killing all to keep their deception in the ranks.
The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris... See full summary »
Police find two bodies at an old murder scene and evidence to suggest the first victim's husband is a murderer. The husband receives clues suggesting his deceased wife is actually alive and begins to investigate.
The filming of this and Mesrine Part 2: Public Enemy #1 (2008), which lasted nine straight months, was done in reverse chronological order so that Vincent Cassel could progressively lose the weight he gained in preparation of the role, as Cassel knew he couldn't gain weight while filming. See more »
In the Monument Valley scene, while the helicopter is filming backwards up to the hill, you can see all the silver-colored trailers from the film-crew on the left side. See more »
A hugely entertaining action vehicle for Vincent Cassel on fine form. One can't help but think of it in terms of its close comparitors: Michael Mann's Public Enemies, a biopic of American gangster John Dillinger, is still on general release; and Steven Soderbergh's Che (Part One) was playing on the screen in the next-door auditorium. Not only is this Mesrine a more entertaining character than both Depp's Dillinger and Benicio Del Toro's Che Guevara, the bipartite biopic is a more entertaining film. That's not to say it's better though.
In this first part, we are shown Mesrine the career criminal. He gets underway with little backstory or prompting, and plays out the film as an increasingly autonomous bank robber. There's no empire building, no examination of the criminal mind or relationships, peripheral or central. It's basically a cycle of robbery, jailbreak and swagger: a brisk, urban updating of the gentleman highwayman.
This makes for a punchy criminal escapade, nicely shot in well-judged industry-standard-Greengrass-cam by Robert Ganz and lovingly charted with well-dated design by Emile Ghigo. Cécile de France's moll Jeanne is as subordinate as Marion Cotillard's Billie to Depp's Dillinger. I would have liked to have seen more of Elena Anaya's Sofia, both actor and character, who promised to be a significant figure in the Mesrine mythology but goes the same way as even the mighty Depardieu. By the end I was looking forward to the second instalment to develop something a little more revealing, or at least complex. 7/10
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