Film Review: La Haine (1995)

Even before the Iraq war widened the rift between Europe and the USA, many European intellectuals held a negative view of the world's sole superpower. This perspective, now mainstream among common Europeans, often stereotypes the USA as a country plagued by violence, crime, drugs, racism, and riots - contrasting with the refined, civic-minded, and enlightened image of Europe, where welfare state policies and "political correctness" supposedly shield citizens from such ills. The 1995 French drama La Haine, directed by Mathieu Kassovitz, stands as an ironic reflection of this dichotomy, portraying these "American" social pathologies within the heart of "enlightened" and "refined" Europe.

The plot of La Haine unfolds in Parisian suburbs, where, unlike many American cities, the inner sections are populated by the upper and middle classes, leaving the suburbs to the predominantly immigrant underclass. A riot erupts after an Arab teenager is beaten into a coma during police interrogation, setting the stage for disaffected youth to wreak havoc in the neighborhood. Amidst the chaos are three local teenagers and best friends - Arab small-time dealer Said (played by Said Taghmaoui), black boxer Hubert (played by Hubert Kounde), and small-time Jewish thief Vinz (played by Vincent Cassell). Over the next 24 hours, these unemployed, out-of-school youths, with little hope or prospects, navigate the neighborhood, encountering various challenges with the police and skinheads. The central conflict arises when Vinz finds a gun lost by a policeman during the riot, vowing to seek revenge on a police officer if the comatose Arab boy dies.

Filmed in black-and-white, La Haine delves into the darker side of modern Europe with a raw intensity that surpasses the grim depictions of inner-city realities seen in American films of the 1990s. Parisian suburbs, like their American counterparts, are rife with violence, crime, drugs, graffiti, gangs, and a police force that resembles an occupying army rather than a force for order, perpetuating a cycle of violence among disillusioned youths. To the chagrin of European cultural elitists, these youths have embraced American cultural influences, from rap music to Hollywood tough guy personas, blurring the lines between cultural identities. While the film showcases how Arabs and Jews can coexist in the suburbs, underlying social divisions persist, exacerbated by a lack of understanding between different segments of French society.

Director Mathieu Kassovitz, who earned the Best Director prize at the Cannes Film Festival for La Haine, delivers a poignant commentary on the societal tensions simmering beneath the surface of French nationalism. Through documentary footage of Parisian suburb riots and subtle narrative cues, Kassovitz paints a prophetic picture of a country grappling with deep-seated issues often overlooked in official rhetoric. The film serves as a cautionary tale, warning of the consequences of ignoring ethnic, racial, and social tensions that could erupt into violence and conflict.

In a time where France is facing a rise in anti-Semitic attacks and far-right political movements, La Haine remains a compelling reflection on the fragility of societal harmony. As the film metaphorically suggests, the illusion of safety can shatter at any moment, urging viewers to confront the realities within their own communities.

Rating: 7/10 (+++)

(Note: This review was originally posted in the Usenet newsgroup rec.arts.films.reviews on September 8th, 2003)

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7