Love this trick. No mirror, no camera; there are two guys in this scene: Vincent and a double opposite to eachother - just to enhance the grace of this scene.
Chori no mirror no camera, he meant to say that when there is no mirror obviously that’s wh you can’t see camera into the mirror if there was mirror used for this scene then camera would also be visible if that makes sense
I can honestly say that this is the greatest film I've ever seen, I didn't know that it existed until I saw it on 100% rotten tomatoes list and it just blew my mind. Brilliant film!
@@maxkho00 Same for me. Another reason for being glad that I learn it. I hope that one day I'll be able to rewatch it without English subtitles and understand everything
@@Riot076 Loved this movie, too. Unfortunately, I stopped practising French as soon as I finished the Pre-U course :( But let's hope you are able to speak it fluently one day 👍
Ramon Homjak if you look at the ears of both actors you can tell a difference. Also if you look at the objects at the bottom of the “mirror” they’re not in perfect reflection of each other and kind of off.
one of the most consistently impressive actors of our time. i myself am german so it says a lot when i hereby officially declare french cinema of the last (two) decade(s) to be the freshest, most exciting, most gripping, unsettling and thought provoking that cinema has ever been. kudos!!
Very creepy when you ask yourself, "Where is the camera that should be staring at you in the face?!" I wonder if this idea had been Kassovitz's. Probably. He is a brilliant man. How many know that he is an outspoken supporter of a scientific investigation of the events of 911? He is a compassionate soul who seeks the truth, and you can see it in his artistic work. God bless him. This mirror scene is just brilliant, and totally ground breaking. I'm so glad he won Cannes for this amazing film.
So you're saying that theres 2 cups with tooth brushes, 2 pairs of scissors, 2 identical towels, 2 hair brushes, .... all positioned accurately across from each other?
Taxi Driver is one of my all time favorites, if not my favorite film. That famous scene with DeNiro is amazing. I also love La Haine, and the way they remade the scene in the film is very stylish. I like it. Taxi Driver est un de mes films preferes, peut etre meme mon prefere. La fameuse scene avec DeNiro est fantastique. J'aime beaucoup La Haine aussi et la maniére dont ils on refait la scene dans le film est vraiment stylé. Je l'aime bien.
The main actor also nods his head while the other actor doesn't. I was confused as to how they did this shot because of the mirror but I realized it's two actors on two different sides of a set. It'd probably be easy to digitally remove the camera today.
Whenever French cinema comes up in conversation, it's very easy to be dismissive. Quite apart from their artistic legacy within the medium, Jean-Luc Godard and others within the nouvelle vague have created a stereotype of French cinema - namely as something slow, pompous, and with little bearing on reality. Even if these attributes are not remotely accurate, they persist to such an extent that we treat any exception to them with great surprise. And there is no greater exception than La Haine, a positively incendiary film which proves that there is more to French cinema than staring soulfully into middle distance. La Haine is the debut feature from Mathieu Kassovitz, whose subsequent career has left a lot to be desired. While he has been pretty consistent in front of the camera, with supporting roles in Amelie and The Fifth Element, his directorial work has been at best erratic. After seeing this film, you would never have predicted that such a talented observer of human behaviour would end up helming something as deeply derivative as Gothika. But putting that aside, his debut is remarkable both in its socio-political analysis and as a very visceral piece of filmmaking. Realist cinema has always had an ability to shock audiences, either by pushing the envelope of what can be shown on screen, or by tackling subjects which were deemed 'unsuitable' or 'inappropriate' but which form integral parts of our social fabric, for good or ill. When Saturday Night and Sunday Morning was first released in 1960, it was given an X certificate; when reclassified it in 2002, it got a PG. This was not because the film has become tame with the passage of time, or conversely because society has gone rapidly downhill. It is because the film was such a radical departure from the expectations of the public and in particular the censors; not knowing how to react, they made sure that relatively few people saw Karel Reisz' film the first time round. There is a close comparison with Saturday Night and Sunday Morning in the structure of La Haine and in its depiction of the misery of urban life. Both films are set around the actions of a close-knit group of characters over a short period of time, in this case a single day. The world of La Haine is much more angular and masculine, with the characters having very little time for women socially, and the humour is quite a lot darker. But the films do share a central theme of characters being trapped in the underclass, and being deeply unsure of their place in society in spite of all their posturing. Vinz, Said and Hubert go about their business with a conflicted sense of ambivalence about the world around them. On the one hand, they are desperate to get out of the banlieues by whatever means: Hubert wants to move away, while Vinz talks about killing policemen, as if being sent down for life is better than living there for another day. On the other hand, the close affinity between the characters, the confidence they exude, and the sheer number of contacts they have, give the impression of people being embedded within a culture or community, with a fear of outsiders which is as strong as the fear people have towards them. La Haine has a very convincing verité style which embeds us in the world of the characters. The opening credits contain documentary footage of Paris rioting between 1986 and 1996; the film was made during the tail end of these riots, and is dedicated to all those who perished in them while it was being made. The dramatic sections are shot in the same hue of black-and-white as the opening footage, creating a smooth transition from the general picture into this specific story. This approach works so well that we find ourselves asking exactly the kind of questions we should with this kind of film. How much of what we are saying is real? Where does reality end and the acting begin? Where, if anywhere, does the director's creative license enter the fray? When we actually sit down and think about it, in terms of the camera always being in an ideal position at the exact time of the action, such questions do become a little redundant. But the fact that we ask them at all, and for so long, is a validation of the film's approach. Not only is La Haine very realistic, it is also deeply cine-literate. Some of the references are upfront, such as Vincent Cassel recreating a scene from Taxi Driver in front of a mirror, and the film's meticulous approach to realism and use of non-professional actors looks back to The Battle of Algiers. But others are more thinly-veiled, or at least open to degrees of interpretation. The scene where a rap DJ plays music out of his window, and the camera pans over the open spaces between the buildings, is like an ironic rendering of the scene in The Shawshank Redemption where Andy DuFresne treats his fellow inmates to an opera record. La Haine explores hatred between individuals and groups of people in a variety of interesting ways. On one level it is a film about racism, depicting a society dominated by white, 'respectable' people who have little or no idea about what goes on the poorer areas of town. The make-up of the central trio - one Black, one Jewish, one Arabic - reflects three groups which have traditionally been the subject of discrimination and exploitation in France (the latter being a further connection with The Battle of Algiers). Because the police force and media are dominated by white people, our three main characters are alienated and made to feel like scapegoats for the country's problems. On another level, the film explores class hatred and the general fear of outsiders. In the later stages of the film, the three men wangle their way into an art gallery, where free drink is being given out at the launch of a new exhibition. Said attempts to hit on a couple of women there, telling them that his friends are sensitive and write poetry, but the women see right through them and are quick to dismiss their half-arsed attempts to be 'cultural'. The men respond by smashing up the artwork and swearing profusely as they leave, alienated by the stuck-up attitudes of their fellow countrymen and -women. La Haine also explores the possible ethics of violence, and how characters' attitudes change when threatened by or possessing a gun. Early on Vinz reveals that he has found a gun which went missing from a policeman on the night of the riots. Carrying it around in the back of his trousers, he becomes as sociopathic as Travis Bickle, feeling he can take on the world and is willing to die if he takes a few policemen with him. But in the few instances where he gets the chance to use it, he hesitates, being as much of a coward as he claims the police to be. In the end he who lives by the sword dies by the sword, as the film concludes with Vinz being shot in the head at point-blank range. The thrust of these three analyses is that in an advanced capitalist society such as France, society is constantly on the brink of descending into civil war. The widening gap between rich and poor, coupled with continuing racial discrimination, has led to rising crime, drug use and anger at the powers-that-be, who talk about help and fair treatment but continue to look down on the banlieues. The film begins and ends with Hubert's story of a man falling from a 50-storey building, repeating the phrase "So far, so good" until he lands. The fall is not important; what is important is what happens when he lands, and how hard he lands. There are a couple of problems with La Haine. Although the characters remain engaging throughout the 90 minutes, it can sometimes feel like we are going round in circles; in its weaker sections the film can feel like talking followed by shouting, repeated ad nauseum. Equally problematic is the bizarre scene of the old man who finds the young men in the toilet. He tells a story of him and a friend travelling through Siberia on a train, stopping to defecate off the back of the train and his friend freezing to death. It's a very odd bit of absurdist humour which jars with everything around it. In spite of these small distractions, La Haine is still a very powerful film. Its political and social arguments are still fresh and relevant after 16 years, and Kassovitz' direction is by and large exceptional. It is a shame that, out of the main players, only Vincent Cassel has continued to garner the attention he deserves. But as both a document of a troubled past and a stark warning for the present, La Haine remains essential viewing.
Your analysis is great! You've given me new perspective on many aspects of the film, so thank you. I slightly disagree with some of your criticisms of the film however: - In the art gallery, the trio are sexist to the two women they try to flirt with. It is only then that the girls become snobbish and make fun of the class of the three. Thereafter, it descends into class conflict, with them being forced out awkwardly from the venue. There is an argument to be made that class was the primary barrier in the first place, I just feel it neglects Saïd's sexism. - Given La Haine was more than 5 years in the making when it released in Nov '95, I think it's a bit of a stretch to see it as an allusion to the Shawshank Redemption (released Feb '95). It's an interesting link, but it's almost certainly coincidental. I was more interested by the cohesion of two very different points in French culture and life - Piaf & the suffering of WWII vs NTM & the modern suffering of the banlieusards. Coupled with the bleak, birds-eye view of the setting I think it's more an introspection on France. - I'm a little confused by your take on Hubert's view on violence. He does pick up the gun - but I don't believe Kassovitz is pointing to the necessity of violence, but rather its inevitably. I think that's an important distinction. "La haine attire la haine." The story is about the cycle of hatred, where the viciousness of one side spurs that of the other. Hubert's picking up the gun shows that even the most level-headed, moral individual can be corrupted - if even only for a moment - into the violent anarchy of their reality: no matter how much they may resist such temptation. One moment whose impact endures. Hence, as the film begins with Saïd's eyes, a police killing and revenge, so too it ends. The cycle will always prevail. - The slowly paced scenes are crucial for the film's integrity. It is the memory of a 24 hour period of these three, struggling men. If we are to connect with their experience, we must too understand the stagnant hours of their lives alongside the tragedy that becomes them. - The Grumwalski scene is one of my favourite scenes. It's rather off-cuff, but I like that - it provides me a brief moment of levity in a morose film. I think Grumwalski's comments can be interpreted in a few different ways: a wider view of the persisting nature of plight and discrimination but ultimately the need to not succumb to hatred, to live; the devastation caused by "harmless" tomfooleries; These last two points now remind me of À Bout De Souffle. Both of these films, to different extents, explore nihilism and (in the case of Godard's work) absurdism. Their slow, stagnant scenes and the bizarre blips of bleak humour that penetrate such monotony prove very important parts of their beauty for me. That's my tuppence worth. I hope it doesn't offend you - I say this only as an avid lover of this film, interested in other's perceptions of this masterpiece.
Pas mal de mots de vous, mais juste trop. Assez! Man of few words aren't you, (dear lord) is this a dissertation? I suppose you Arabs think we English aren't serious enough, or something.
@@therespectedlex9794 Slightly confused - are you referring to me? Fair enough if so, I was quite verbose. Not that race should be important, but I'm a white Scot/Brit. I'm a little confused about/by what you're saying
C'était l'un des plus grands films et ça valait la peine d'être regardé, et je l'ai regardé trois fois en peu de temps et ses événements sont rapides et beaux. C'est une chose incroyable.
Those small details makes a scene work. The pipe sounds are quite irrelevant during the build up. They are there to fulfill acoustic space, but then he puts his fingers in trigger position and the drain pipe sound gets more intense and from a left/right channels it gets in the middle. Like a build-up effect.
This movie is a work of art a piece of cinema that we should all watch to help understand why people hate each other why people will always be in a loop of Violence
I think it's some kind of a tribute because it's the second movie of Kassowitz and all of it is really inspired not by De Niro but by Scorcese (Taxi Driver was is second movie too)
I always love how they imitate the reflexion around the lamp on the 'mirror' as they move in front of the double. I think its just a layer of carpenter tape. Set dressing and best boys must have figured that one out.
Bruh I'm rewatching Taxi Driver right now and I got up to this scene and I thought to myself that this happened in La Haine so I went to find a clip of the scene on TH-cam and I wasn't delusional, I was right 😭. I love both these movies they're legendary
The most underrated movie, the message of this movie has really a deep meaning, the aesthetic of it is beautiful, the story of it is perfect, and the characters to it really did well. La Haine is not jus about telling us a message bout police, it's also telling us about how our life works and how society makes it work.
@goodbyki Well, just as simple as brilliant: There is NO mirror here. There are TWO actors, they're making exact the same movements (still you can see - watch closely - it's not always perfectly timed) Though, this is what creative film making is, awesome!
@ShortGrey1 En effet, c'était deja un peu de temps que je m'intéressait au rap français; hélas, je connaissais presque aucun artiste... Encore une fois, merci beaucoup! Je vais te dire ce que j'en ai pensé! ;-)
@wiediewutz not sure it's a cut - think it's a body double with his back to the camera. when they raise their hands to their chests it's not quite in sync..
@mlenoan I'm not sure about the US, but he spoke in Canada at "The International Hearings on the Events of September 11, 2001." The hearings were sponsored by The International Center for 9/11 Studies and were held at Ryerson University in Toronto. He attended all four days of the hearings, and he was also attending the Toronto Film Festival at the same time! I know about the French TV thing, which I heard was actually an orchestrated hit piece against him.
@kirillovd007 Confused me at first too - but the mirror is actually an open window-like space, and they're actually filming Vincent Cassel head on. The guy we see from behind might just be a body double or a different shot of Cassel spliced in.
@joj1202 Ouais merci ! j'orai jamais pensé que y'avait pas de mirroir . quand il fait le pistolet avec sa main , on voit les pouces qui sont pas synchro .
Because there's actually no mirror. It's two different guys. They filmed Cassel frontview and a body double from the back with the same gestures. You can see at 00:02 that their hands aren't perfectly synchronised.
Love this trick. No mirror, no camera; there are two guys in this scene: Vincent and a double opposite to eachother - just to enhance the grace of this scene.
La Haineee hd movie here => twitter.com/dbc1f01543fe63c5a/status/822787348056244224
holy shit! That's the trick? lol.
Sorry, genuine question, what do you mean by "no camera"?
Chori no mirror no camera, he meant to say that when there is no mirror obviously that’s wh you can’t see camera into the mirror if there was mirror used for this scene then camera would also be visible if that makes sense
@@sandrokalandadze7978 thanks dude
best tribute to Taxi Driver ever...and in my opinion, probably the greatest french language film ever made
THE greatest not probably don't disrespect
I love how this is the opposite of Travis, he is a film lover, and lover of art and life despite being surrounded by hate.
lol
@@PopeUrbanX I agree though many would say, A Bout de Soufflé - I think there's a fair argument to be made there
You realize what you're putting it up against...
the most underrated actor in cinema history because he isnt american or british
@Book Worm well They are British
@Book Worm Yeah it's pretty ignorant to call Irish people British.
@Book Worm I am not to blame that your intelligence and knowledge at a general level will be null. Come on, read more, come on, read more.
@@elcimarron8660 you must be either utterly infatuated with yourself, or just trolling.
Facts???
The energy in this movie from the editing, acting, cinematography, and music is just INSANE. How did a human being even make this movie?
And it was Kassovitz's debut motion picture, to boot... Just unreal.
I can honestly say that this is the greatest film I've ever seen, I didn't know that it existed until I saw it on 100% rotten tomatoes list and it just blew my mind. Brilliant film!
Do they have this with english subs?
@duval rodolphe put us on my French man
@@enydnightshade This might a bit late, but Criterion Channel has this with english subtitles.
This made me learn French...
Learning French made me watch this.
Pre-u French students will understand.
@@maxkho00 Same for me. Another reason for being glad that I learn it. I hope that one day I'll be able to rewatch it without English subtitles and understand everything
@@Riot076 Loved this movie, too. Unfortunately, I stopped practising French as soon as I finished the Pre-U course :( But let's hope you are able to speak it fluently one day 👍
Good luck guys
You'll learn not the best French then...
How they thought the "from behind/mirror to front view" transtition is beyond me...
Those are two Actors most possibly. the guy you see from behind at the start is a body double or something, There was no mirror :-)
how did you notice that?? you are so right. that transition is just amazing idea. from 3rd person to 1 on 1
@@johannespelka5276 that seems correct, you can tell by their ears, they look different.
@@kwamekemet78 it's more like, if there is a mirror then where is the cameraman reflection.
Ramon Homjak if you look at the ears of both actors you can tell a difference. Also if you look at the objects at the bottom of the “mirror” they’re not in perfect reflection of each other and kind of off.
"Are you talking to me?"
"No. I'm talking to a guy in the hole of my bathroom"
I watched this movie at French class. It's amazing.
I've watched bridget Jones in english class...
Same
What Kinda French class you take 💀
Same
@iknowyoustolemypotato a cultured one probably
one of the most consistently impressive actors of our time. i myself am german so it says a lot when i hereby officially declare french cinema of the last (two) decade(s) to be the freshest, most exciting, most gripping, unsettling and thought provoking that cinema has ever been. kudos!!
One of the greatest French films. I love this scene
we in turkey eatt frech toats for brokefast
Very creepy when you ask yourself, "Where is the camera that should be staring at you in the face?!" I wonder if this idea had been Kassovitz's. Probably. He is a brilliant man. How many know that he is an outspoken supporter of a scientific investigation of the events of 911? He is a compassionate soul who seeks the truth, and you can see it in his artistic work. God bless him. This mirror scene is just brilliant, and totally ground breaking. I'm so glad he won Cannes for this amazing film.
Non c'est pas a toi q je parle
So you're saying that theres 2 cups with tooth brushes, 2 pairs of scissors, 2 identical towels, 2 hair brushes, .... all positioned accurately across from each other?
Pretty much
iRISE filmz that’s correct
vincent has always been an underrated actor
No
He hasn’t
My favourite french movie of all time. even more relevant today than it was when it first came out.
Taxi Driver is one of my all time favorites, if not my favorite film. That famous scene with DeNiro is amazing. I also love La Haine, and the way they remade the scene in the film is very stylish. I like it.
Taxi Driver est un de mes films preferes, peut etre meme mon prefere. La fameuse scene avec DeNiro est fantastique. J'aime beaucoup La Haine aussi et la maniére dont ils on refait la scene dans le film est vraiment stylé. Je l'aime bien.
There are two brushes, two tooth brush , 2 towels , 2 cups are superimposed giving the impression of mirror (and 2 actor)
yes i think we know
no, he says "you're talking to me" like robert de niro
Exactly
Me being half french half English so proud to have such badass actors from both sides vincent cassel is a classic actor!
0:02 You can see the movement of the hands slighty delayed
Nah.
I made a film appreciation video about this film, if you want to see it, just go to my channel. Greetings.
The main actor also nods his head while the other actor doesn't. I was confused as to how they did this shot because of the mirror but I realized it's two actors on two different sides of a set. It'd probably be easy to digitally remove the camera today.
Victor from Tekken 8 amping himself up against fighting Kazuya and Dragonov
one of my favorite movies, and one of the best ever!
this is an amazing movie. on of my favorites.
vincent cassel stole my heart
On ne remarque même pas que c'est une doublure de Cassel, le mec de dos!
You talk to me?.......
Travis bickle.. Taxi driver....
But this is a class for itself, as there are two different actors doing it ;)
One actor doing that, Vincent copied this actor
It's a reference, Vincent copied nothing
Drago607 he meant two actors in this scene, did you not realize that you don't see the camera filming the scene in the mirror ?
Yes, i know, good reference
Vincent Cassel is just amazing, what a lad
Whenever French cinema comes up in conversation, it's very easy to be dismissive. Quite apart from their artistic legacy within the medium, Jean-Luc Godard and others within the nouvelle vague have created a stereotype of French cinema - namely as something slow, pompous, and with little bearing on reality. Even if these attributes are not remotely accurate, they persist to such an extent that we treat any exception to them with great surprise. And there is no greater exception than La Haine, a positively incendiary film which proves that there is more to French cinema than staring soulfully into middle distance. La Haine is the debut feature from Mathieu Kassovitz, whose subsequent career has left a lot to be desired. While he has been pretty consistent in front of the camera, with supporting roles in Amelie and The Fifth Element, his directorial work has been at best erratic. After seeing this film, you would never have predicted that such a talented observer of human behaviour would end up helming something as deeply derivative as Gothika. But putting that aside, his debut is remarkable both in its socio-political analysis and as a very visceral piece of filmmaking. Realist cinema has always had an ability to shock audiences, either by pushing the envelope of what can be shown on screen, or by tackling subjects which were deemed 'unsuitable' or 'inappropriate' but which form integral parts of our social fabric, for good or ill. When Saturday Night and Sunday Morning was first released in 1960, it was given an X certificate; when reclassified it in 2002, it got a PG. This was not because the film has become tame with the passage of time, or conversely because society has gone rapidly downhill. It is because the film was such a radical departure from the expectations of the public and in particular the censors; not knowing how to react, they made sure that relatively few people saw Karel Reisz' film the first time round. There is a close comparison with Saturday Night and Sunday Morning in the structure of La Haine and in its depiction of the misery of urban life. Both films are set around the actions of a close-knit group of characters over a short period of time, in this case a single day. The world of La Haine is much more angular and masculine, with the characters having very little time for women socially, and the humour is quite a lot darker. But the films do share a central theme of characters being trapped in the underclass, and being deeply unsure of their place in society in spite of all their posturing. Vinz, Said and Hubert go about their business with a conflicted sense of ambivalence about the world around them. On the one hand, they are desperate to get out of the banlieues by whatever means: Hubert wants to move away, while Vinz talks about killing policemen, as if being sent down for life is better than living there for another day. On the other hand, the close affinity between the characters, the confidence they exude, and the sheer number of contacts they have, give the impression of people being embedded within a culture or community, with a fear of outsiders which is as strong as the fear people have towards them. La Haine has a very convincing verité style which embeds us in the world of the characters. The opening credits contain documentary footage of Paris rioting between 1986 and 1996; the film was made during the tail end of these riots, and is dedicated to all those who perished in them while it was being made. The dramatic sections are shot in the same hue of black-and-white as the opening footage, creating a smooth transition from the general picture into this specific story. This approach works so well that we find ourselves asking exactly the kind of questions we should with this kind of film. How much of what we are saying is real? Where does reality end and the acting begin? Where, if anywhere, does the director's creative license enter the fray? When we actually sit down and think about it, in terms of the camera always being in an ideal position at the exact time of the action, such questions do become a little redundant. But the fact that we ask them at all, and for so long, is a validation of the film's approach. Not only is La Haine very realistic, it is also deeply cine-literate. Some of the references are upfront, such as Vincent Cassel recreating a scene from Taxi Driver in front of a mirror, and the film's meticulous approach to realism and use of non-professional actors looks back to The Battle of Algiers. But others are more thinly-veiled, or at least open to degrees of interpretation. The scene where a rap DJ plays music out of his window, and the camera pans over the open spaces between the buildings, is like an ironic rendering of the scene in The Shawshank Redemption where Andy DuFresne treats his fellow inmates to an opera record. La Haine explores hatred between individuals and groups of people in a variety of interesting ways. On one level it is a film about racism, depicting a society dominated by white, 'respectable' people who have little or no idea about what goes on the poorer areas of town. The make-up of the central trio - one Black, one Jewish, one Arabic - reflects three groups which have traditionally been the subject of discrimination and exploitation in France (the latter being a further connection with The Battle of Algiers). Because the police force and media are dominated by white people, our three main characters are alienated and made to feel like scapegoats for the country's problems. On another level, the film explores class hatred and the general fear of outsiders. In the later stages of the film, the three men wangle their way into an art gallery, where free drink is being given out at the launch of a new exhibition. Said attempts to hit on a couple of women there, telling them that his friends are sensitive and write poetry, but the women see right through them and are quick to dismiss their half-arsed attempts to be 'cultural'. The men respond by smashing up the artwork and swearing profusely as they leave, alienated by the stuck-up attitudes of their fellow countrymen and -women. La Haine also explores the possible ethics of violence, and how characters' attitudes change when threatened by or possessing a gun. Early on Vinz reveals that he has found a gun which went missing from a policeman on the night of the riots. Carrying it around in the back of his trousers, he becomes as sociopathic as Travis Bickle, feeling he can take on the world and is willing to die if he takes a few policemen with him. But in the few instances where he gets the chance to use it, he hesitates, being as much of a coward as he claims the police to be. In the end he who lives by the sword dies by the sword, as the film concludes with Vinz being shot in the head at point-blank range. The thrust of these three analyses is that in an advanced capitalist society such as France, society is constantly on the brink of descending into civil war. The widening gap between rich and poor, coupled with continuing racial discrimination, has led to rising crime, drug use and anger at the powers-that-be, who talk about help and fair treatment but continue to look down on the banlieues. The film begins and ends with Hubert's story of a man falling from a 50-storey building, repeating the phrase "So far, so good" until he lands. The fall is not important; what is important is what happens when he lands, and how hard he lands. There are a couple of problems with La Haine. Although the characters remain engaging throughout the 90 minutes, it can sometimes feel like we are going round in circles; in its weaker sections the film can feel like talking followed by shouting, repeated ad nauseum. Equally problematic is the bizarre scene of the old man who finds the young men in the toilet. He tells a story of him and a friend travelling through Siberia on a train, stopping to defecate off the back of the train and his friend freezing to death. It's a very odd bit of absurdist humour which jars with everything around it. In spite of these small distractions, La Haine is still a very powerful film. Its political and social arguments are still fresh and relevant after 16 years, and Kassovitz' direction is by and large exceptional. It is a shame that, out of the main players, only Vincent Cassel has continued to garner the attention he deserves. But as both a document of a troubled past and a stark warning for the present, La Haine remains essential viewing.
Your analysis is great! You've given me new perspective on many aspects of the film, so thank you. I slightly disagree with some of your criticisms of the film however:
- In the art gallery, the trio are sexist to the two women they try to flirt with. It is only then that the girls become snobbish and make fun of the class of the three. Thereafter, it descends into class conflict, with them being forced out awkwardly from the venue. There is an argument to be made that class was the primary barrier in the first place, I just feel it neglects Saïd's sexism.
- Given La Haine was more than 5 years in the making when it released in Nov '95, I think it's a bit of a stretch to see it as an allusion to the Shawshank Redemption (released Feb '95). It's an interesting link, but it's almost certainly coincidental. I was more interested by the cohesion of two very different points in French culture and life - Piaf & the suffering of WWII vs NTM & the modern suffering of the banlieusards. Coupled with the bleak, birds-eye view of the setting I think it's more an introspection on France.
- I'm a little confused by your take on Hubert's view on violence. He does pick up the gun - but I don't believe Kassovitz is pointing to the necessity of violence, but rather its inevitably. I think that's an important distinction. "La haine attire la haine."
The story is about the cycle of hatred, where the viciousness of one side spurs that of the other. Hubert's picking up the gun shows that even the most level-headed, moral individual can be corrupted - if even only for a moment - into the violent anarchy of their reality: no matter how much they may resist such temptation. One moment whose impact endures. Hence, as the film begins with Saïd's eyes, a police killing and revenge, so too it ends. The cycle will always prevail.
- The slowly paced scenes are crucial for the film's integrity. It is the memory of a 24 hour period of these three, struggling men. If we are to connect with their experience, we must too understand the stagnant hours of their lives alongside the tragedy that becomes them.
- The Grumwalski scene is one of my favourite scenes. It's rather off-cuff, but I like that - it provides me a brief moment of levity in a morose film. I think Grumwalski's comments can be interpreted in a few different ways:
a wider view of the persisting nature of plight and discrimination but ultimately the need to not succumb to hatred, to live;
the devastation caused by "harmless" tomfooleries;
These last two points now remind me of À Bout De Souffle. Both of these films, to different extents, explore nihilism and (in the case of Godard's work) absurdism. Their slow, stagnant scenes and the bizarre blips of bleak humour that penetrate such monotony prove very important parts of their beauty for me.
That's my tuppence worth. I hope it doesn't offend you - I say this only as an avid lover of this film, interested in other's perceptions of this masterpiece.
Pas mal de mots de vous, mais juste trop. Assez! Man of few words aren't you, (dear lord) is this a dissertation?
I suppose you Arabs think we English aren't serious enough, or something.
@@therespectedlex9794 Slightly confused - are you referring to me? Fair enough if so, I was quite verbose. Not that race should be important, but I'm a white Scot/Brit. I'm a little confused about/by what you're saying
@@user-mq3um5iu2q Yeah right, or maybe that explains it.
@@user-mq3um5iu2q Is you name Gabe Yaherr jock?
C'était l'un des plus grands films et ça valait la peine d'être regardé, et je l'ai regardé trois fois en peu de temps et ses événements sont rapides et beaux. C'est une chose incroyable.
I love how the gunshot syncs with the drain pipe.
Those small details makes a scene work. The pipe sounds are quite irrelevant during the build up. They are there to fulfill acoustic space, but then he puts his fingers in trigger position and the drain pipe sound gets more intense and from a left/right channels it gets in the middle. Like a build-up effect.
mythique c film me rappelle ma jeunesse ou on glander sur les bancs à refaire c film aaaaaaaaaa que le tp passe vite looool
this scene was absolutely ingenious, blew my mind
Most legend scene all time
I made a film appreciation video about this film, if you want to see it, just go to my channel. Greetings.
Waaw!! Its so exquisitely done!! I honestly cant tel da diff... n the mirror looks so life-like!! spell-bound!! wat film-making!!
c'est à moi que tu parles? vincent cassel is such a great actor!
أفضل مشهد سينمائي ..
One of the best movies ever
haha, i was just about to say that. the genius of that shot!
great film. thanks for the upload :)
Just saw this movie, so great
This movie is a work of art a piece of cinema that we should all watch to help understand why people hate each other why people will always be in a loop of Violence
One tiny mistake. At (0:02) the toothbrush was taller in the "reflection" than on the actor who's in front of him.
Nice
I made a film appreciation video about this film, if you want to see it, just go to my channel. Greetings.
Quand j ai vu la scene de de niro dans taxi driver celle du " you talkin to me " j ai fait le rapprochement.elle est totalement inspiré du theme
Merci captain obvious !
Bah logique car en fait il limite ... 😂
I think it's some kind of a tribute because it's the second movie of Kassowitz and all of it is really inspired not by De Niro but by Scorcese (Taxi Driver was is second movie too)
I think it's his 8th movie.
This is the funniest thing I've seen I keep coming back to it to get a good laugh, also you can tell their both out of sync lol
0:25 XD
This scene was 50 seconds long? This felt shorter than I anticipated, thought he was talking to himself for 3 minutes.
There were two actors in this scene.
I always love how they imitate the reflexion around the lamp on the 'mirror' as they move in front of the double.
I think its just a layer of carpenter tape. Set dressing and best boys must have figured that one out.
Bruh I'm rewatching Taxi Driver right now and I got up to this scene and I thought to myself that this happened in La Haine so I went to find a clip of the scene on TH-cam and I wasn't delusional, I was right 😭. I love both these movies they're legendary
Right I like how it’s a homage
Película terminada 12 de agosto del 2024
I don't speak French but sah quel plaisir
Vincent cassel quelle acteurs bordel❤
brilliant scene thanks for posting xx
I'm planning to dig deep into my video archives and watch this this month! :-)
He's one of the bests actors ever
vincent cassel le meilleur !!
quel jeu d'acteur, il est est vraiment excellent !
So far, so good...
You talking to me !??? BANG BANG BANG !!!
such an awesome film
Incroyable! Hilarieux! Je suis Anglais (je suis desole por mon francaise), et j'adore cette filme!
😂😂! Tête de ouf , un grand Cassel !
Honestly tho,we've all done this at least once in front of a mirror
Haven't we? :D
Fax
@cinefilikos What about the hairbrush reflection leaning against the mirror? Always wondered.
Best scene ever.
The most underrated movie, the message of this movie has really a deep meaning, the aesthetic of it is beautiful, the story of it is perfect, and the characters to it really did well. La Haine is not jus about telling us a message bout police, it's also telling us about how our life works and how society makes it work.
It's not really underrated
How does it tell us about how society makes our life work
at the start he nods slightly and his double doesnt. otherwise completely flawless. amazing
magnifique
@goodbyki
Well, just as simple as brilliant:
There is NO mirror here.
There are TWO actors, they're making exact the same movements
(still you can see - watch closely - it's not always perfectly timed)
Though, this is what creative film making is, awesome!
Victor Chevalier from Tekken 8
fully no mirror! 2 different people as well! you're right djchido!
Sick scene though!!
Fantastic scene, fantastic movie. Too bad we couldn't get some subtitles onto here.
le passage qui m'fait l'plus déliré 00:18 !
No idea what he just said, but he's got me convinced.
@ggn92 Mais pour quoi faire ? Et comment ça se fait qu'on voie le reflet de la brosse a dents dans le mirroir ?
best scene
Je crois que c'es Diego de l'age de glace, pas Sid
@ShortGrey1 En effet, c'était deja un peu de temps que je m'intéressait au rap français; hélas, je connaissais presque aucun artiste... Encore une fois, merci beaucoup! Je vais te dire ce que j'en ai pensé! ;-)
Vincent Cassel Le meilleur !!!!! Dans tous les gros film lui !
@wiediewutz not sure it's a cut - think it's a body double with his back to the camera. when they raise their hands to their chests it's not quite in sync..
@mlenoan I'm not sure about the US, but he spoke in Canada at "The International Hearings on the Events of September 11, 2001." The hearings were sponsored by The International Center for 9/11 Studies and were held at Ryerson University in Toronto. He attended all four days of the hearings, and he was also attending the Toronto Film Festival at the same time! I know about the French TV thing, which I heard was actually an orchestrated hit piece against him.
@kirillovd007
Confused me at first too - but the mirror is actually an open window-like space, and they're actually filming Vincent Cassel head on. The guy we see from behind might just be a body double or a different shot of Cassel spliced in.
there is no mirror. it's two rooms with two actors. one of the actors is only shown from the back.
merci, je sais! j'ai dit que personne ne s'etonnait !
great movie
Most sane Frenchman
He's jewish not french...
Comment ils font pour pas qu'on voit la caméra dans le miroir ?
Beat name?
Oui lorsque tu stop la video a 3 secondes, tu peux constater qu'il y a un décalage d'une demi seconde entre lui et vincent cassel :)
Répondre à cette vidéo...
Merci pour le fou rire ^^
I love when this movie is black and white
GREAT SCENE
You talkin'g to me?! best scene
Great shot! just i can see two tiny errors of synchronization, but no matter, Its one of my favorites "mirror shots"
i wanna know how tht scene is shot?!? where's the reflection of the camera?? wat trick was used here to film dis? its amazing!!
LEGEND
I made a film appreciation video about this film, if you want to see it, just go to my channel. Greetings.
@joj1202 Ouais merci ! j'orai jamais pensé que y'avait pas de mirroir . quand il fait le pistolet avec sa main , on voit les pouces qui sont pas synchro .
"Hey les gars c'est à moi qui parle! c'est a moi q'tu parle wowowowowo c'est a MOI q'tu parle là!!" mDRRRR
Je rigole toujours a ce moment !!! :)
Why we can’t see the camera on the mirror ?
Because there's actually no mirror. It's two different guys. They filmed Cassel frontview and a body double from the back with the same gestures. You can see at 00:02 that their hands aren't perfectly synchronised.
@dhenryviii i think they use 2 peuple to make this scene l think it's not a mirror or ...! Chat you think about it ???