Mesrine: Public Enemy No. 1

2008 [FRENCH]

Action / Biography / Crime / Drama / Thriller

6
IMDb Rating 7.5 10 28475

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Synopsis


Uploaded By: FREEMAN
May 12, 2020 at 11:34 AM

Cast

Vincent Cassel as Jacques Mesrine
Fanny Sidney as Sabrina 16 ans
Mathieu Amalric as François Besse
Ludivine Sagnier as Sylvia Jeanjacquot
720p.BLU 1080p.BLU
1.2 GB
1280*544
French 2.0
R
23.976 fps
2 hr 13 min
P/S 35 / 10
2.46 GB
1920*816
French 5.1
R
23.976 fps
2 hr 13 min
P/S 2 / 7

Movie Reviews

Reviewed by macktan894 8 / 10

Killer Instinct is the better of the 2

I loved Killer Instinct, the best film I've seen in 2010, perhaps in the last few years. Vincent Cassel is stupendous at Jacques Mesrine, a brutal and bold bank robber with an ego that would intimidate Sigmund Freud. In Public Enemy, Mesrine's ego continues its meteoric growth, but his character development stagnates. And that's what makes Part 2 not as good as Part 1.

Part 2 is simply entertainment for those who enjoyed Mesrine's bravado in Killer Instinct. Bold escapes and robberies, shoot em ups, etc. But without any character growth--and a pseudo- revolutionary mindset does not ring authentic--you come away thinking that you've seen this before and done better in Part 1. In fact, with a little thought, parts 1 & 2 could have been merged to make one heckuva movie at a longer than average length.

But it's still worth watching and, in fact, worth purchasing. Go Vincent Cassel.

Reviewed by dharmendrasingh 9 / 10

A man of principle; albeit criminal principle

'It's pronounced may-reen!' Jacques barks at a police officer for mispronouncing his name while recording a statement for one of his latest misdemeanours. Jacques now claims his crimes are politically motivated, but if anything, they have become less a means to an end than an end in themselves. Sustaining his role as France's number one outlaw becomes a vocation in itself.

As his weight increases, so too do his risks. He starts a tradition of stealing from one bank then immediately stealing from another; he cheekily goes incognito to a police station to obtain information they have about him; and he even kidnaps a judge whilst on trial for yet another bank robbery.

It can't have been an easy thing for the director to capture or for Cassel to personify, but what is impressive about this modern-day Robin Hood is that no matter how bad he gets he is never quite an Al Capone or a John Dillinger. But it's not long before his inner Mr Hyde resurfaces – this time with catastrophic consequences.

Jacques arranges an interview with a policeman-turned-journalist, but it's a set-up, for Jacques confronts him about negative coverage he has given him. What ensues is a highly graphic display of violence. It proves to be one crime too far and prompts the minister of the interior to order police forces to hunt him down.

Jacques's vulnerability is exposed in a number of emotional scenes, especially one with his father. When questioned about why he does what he does, there is a heavily pregnant pause before a powerful soliloquy, 'I don't like laws… I won't dream my life away, and I won't pass every store thinking: that'll cost me 10 months' work'.

The brilliance of these two films is that both flagrantly show Jacques's demise in their opening scene. However, you either ignore this fact or convince yourself it is not real; testimony no doubt to the allure of the main character and the manner in which his story his conveyed.

'Death is nothing to someone who knows how to live.' This matter-of-fact proclamation from Jacques sums up his philosophy from the beginning. Forget politics, forget justice, forget morality. None of these were his motives. Crime was the motive and an addiction to crime was his punishment. Jacques Mesrine always knew that once dead he would be 'guilty of nothing'. And I for one agree.

www.scottishreview.net

Reviewed by youllneverbe 8 / 10

Lands successfully between crime thriller, gangster saga and character study

*REVIEW OF BOTH PARTS*

There is a short paragraph that opens both "Mesrine" films; the exact wording escapes me, but it says something like "no film can accurately portray the complexities of a human life". This seems to be a pre-emptive defense, as if Richet anticipates criticism for a lack of depth or some glaring omissions. After all, Jacques Mesrine is apparently still a famous name in France, and his public persona lives on. If even half his supposed exploits were true, the story would still be crying out for a definitive dramatisation. As such, Richet has wisely avoided making any real ethical judgements of Mesrine's character, focusing instead on the sex, violence and publicity that he thrived upon. But it's Vincent Cassel's committed and exuberant performance that develops this meat-and-potatoes content into an unbiased character study of excess and, over all, a very fine pair of movies.

"Mesrine" may not seem to be particularly even-handed at first because of the glamour, the wisecracks, and the endless charisma, all of which are drawn from the rich stylistic tradition of the Gangster Movie, and used very skilfully in its favour. The fast pace of the story ensures we are either seduced or repulsed by the central character, and rarely anywhere in between. Sympathy or pity is irrelevant, and he is too brutal and trigger-happy to be rooted for as a regular protagonist. The first film is the slicker of the two, and the more visually satisfying due to the wonderfully stylish recreation of early 60s Paris (and elsewhere). Cassel plays Mesrine with youthful vigour here. He's all style and brash confidence, as endearing a wiseguy as any of Scorcese's characters. It's "Goodfellas", in fact, that "Killer Instinct" is most reminiscent of, with its sharp-suited mobsters (including a brilliantly grizzled Gerard Depardieu) and episodic year-hopping narrative.

By the half-way point, Mesrine is still something of an enigma. It's only in "Public Enemy No. 1" that the pace slows down and we can see, through a few intimate and contemplative scenes, what he has sacrificed to live as a superlative criminal. "I wasn't much of a son, I'm not much of a father either." he says, while in disguise visiting his own ailing father in hospital. He gradually alienates his closest friends and accomplices by trying to maintain the outlandish public profile he cultivated, rambling pseudo-revolutionary politics to journalists and threatening to kill judges and destroy all maximum security prisons. The "Goodfellas" ensemble of the first part becomes the isolated, ego-driven "Scarface" of the second as Cassel skilfully matures his character into a man resigned to the fate he knows must be coming.

The over all impression left by "Mesrine" is that it manages to land successfully between crime thriller, gangster saga and character study. This is achieved by the virtue of a standout central performance, as well as Richet's shrewd application of an American film-making style to a very French story. It ought to go down among the top crime dramas of the decade, or at the very least raise the (already decent) international profile of its impressive leading man.

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