Leaving the series half-finished,I recently decided to re-start my viewing of the gritty HBO series The Wire. Looking round for info on The Wire,I found out about a French Noirish title which had been called "The Wire:The Movie." After the odd spelling of the title led to it being a bit tough to track down,I got set to join the polisse force.
View on the film:
Basing each case featured on ones that a real Child Protection Unit handled,the screenplay by co-writer/(along with fellow co-star Emmanuelle Bercot) actress/director "Maïwenn" (who gives a touchingly shy performance as Melissa) reflects the real open-ended experience of each department,with the writers brilliantly leaving each verdict hanging in the air,as the cases go from the CPU to the legal department.
Treating child abuse in a sensitive manner,the writers reveal that they are not afraid to put the cops with gritty dialogue under a Noir,rather than heroic light.
Knitting the cops as a close,gallows humor bunch,the writers paint the blue line in blistering shades of grey,where disagreements over the best course of action leads to Film Noir frustrations being vividly expressed,as Fred (played with an excellent gruffness by Joey Star) openly keeps Melissa separate from the force.
Working as a photographer during her time with the real CPU, Maïwenn & cinematographer Pierre Aïm give the movie a Film Noir,documentary gristle. Keeping Stephen Warbeck's score to a low hum, Maïwenn digs into the daily grind with tapping keyboards and muttered words making the loudest noise,whilst coiled shots cut the tension in the interviews with a knife.
Putting the cops up against a car chase and a child hostage taking, Maïwenn cuts any "Action" atmosphere from the set-pieces,via the tracking shots moving with a short,sharp,shock which unleashes the blunt take down by the cops across the screen,as Melissa joins the polisse.
View on the film:
Basing each case featured on ones that a real Child Protection Unit handled,the screenplay by co-writer/(along with fellow co-star Emmanuelle Bercot) actress/director "Maïwenn" (who gives a touchingly shy performance as Melissa) reflects the real open-ended experience of each department,with the writers brilliantly leaving each verdict hanging in the air,as the cases go from the CPU to the legal department.
Treating child abuse in a sensitive manner,the writers reveal that they are not afraid to put the cops with gritty dialogue under a Noir,rather than heroic light.
Knitting the cops as a close,gallows humor bunch,the writers paint the blue line in blistering shades of grey,where disagreements over the best course of action leads to Film Noir frustrations being vividly expressed,as Fred (played with an excellent gruffness by Joey Star) openly keeps Melissa separate from the force.
Working as a photographer during her time with the real CPU, Maïwenn & cinematographer Pierre Aïm give the movie a Film Noir,documentary gristle. Keeping Stephen Warbeck's score to a low hum, Maïwenn digs into the daily grind with tapping keyboards and muttered words making the loudest noise,whilst coiled shots cut the tension in the interviews with a knife.
Putting the cops up against a car chase and a child hostage taking, Maïwenn cuts any "Action" atmosphere from the set-pieces,via the tracking shots moving with a short,sharp,shock which unleashes the blunt take down by the cops across the screen,as Melissa joins the polisse.