Hate [VHS]

Hate [VHS]

Hate [VHS]

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Product details

Actor: Abdel-Moulah Boujdouni, Choukri Gabteni, Nabil Ben Mhamed, Olga Abrego, Vincent Cassel
Primary Contributor: Vincent Cassel
Primary Contributor: Hubert Kound?
Primary Contributor: Sa?d Taghmaoui
Edition: VHS Tape
Audio: English (Subtitled)
Format: Black & White, Color, HiFi Sound, Letterboxed, NTSC, Widescreen
Running Time: 96 minutes
Release Date: 1997-02-11
Audience Rating: R (Restricted)
Publisher: Polygram Video
Studio: Polygram Video

VHS Movie Reviews of Hate [VHS]

Movie Review: How can a film made in the 90s still resonate in the 00s? Ask Kassovitz!
Summary: 5 Stars

"La Haine" is a political film. "La Haine" is a humanistic film about the realities of ghetto life. "La Haine" is a film about France, specifically the turmoil surrounding rebellion, honesty, and sacrifice. "La Haine" will anger you. It will make you cringe in your seat. It will make you question the values within your own community. That is why this film swept in 1995 when it was released, why other directors have attempted to recycle the story, and why even today - 14 years later - it still remains a relevant film, not just about French society, but a dedicated relevance towards American society as well. Director Mathieu Kassovitz has pulled this story directly from the headlines, taking the injustice of the police and the corruption of the streets and transforming it into the lives of three multi-national boys hell-bent on initiating revenge for the sake of their fallen friend. It is a dark story that uses drugs and violence off the scene to build the suspense within. Filmed in a stark black and white, Kassovitz takes away the glory, wealth, and American-ized culture of project life (see Baltimore's "The Wire") and allows us to experience one day in the life of these boys and their discovery of a gun.

Like von Trier's "Dear Wendy", "La Haine" focuses on the gun, a rarity within the youth of the French projects, and builds this momentum that the unknown will eventually happen. This onset of violence, which has been haunting us throughout the film, a la "Mean Streets", finally comes face forward in our third act in a shock provoking scene that will rattle you each time "La Haine" visits your DVD player. Yet, this is just a small indication of what "La Haine" has to offer. Yes, it is a film about violence, it is a political film, and you better believe that it is a youth film, but there is something universal about this mid-90s film that continues to resonate with each viewing. For me, it rests powerfully on the actors. Vincent Cassel absolutely steals this film. From his opening dance, until the unique dilemma surrounding the skinhead, he proves throughout this film that he was passionate about the material. For those doubting the power of his ability, see his body language, emotion, and intensity behind his words - what Cassel does in this film is rare in today's Oscar-caliber films. I recently had the opportunity to watch his film, "Eyes Wide Shut" - again, another independent film in which he gave over 100% of his ability to bring to the screen a genuinely unique character. That is the ability of Vincent Cassell. Yet, in "La Haine", we have two other players that bring even more of a dynamic to this group. Hubert Kounde's performance of Hubert is jaw-dropping. There is this subtle level of intelligence that rounds out our group consisting of himself, the wild-card, and the jokester. Hubert shows that life in the ghettos of France are not just a status symbol, but instead merely abilities to get by. When selling drugs, the money doesn't go towards jewelery or cars, it goes back to his mother to pay the gas bill. In this scene alone, Hubert shows his humanity, while Kassovitz demonstrates the truth behind the scene. Said was equally as good, keeping up with the other two, but for myself, Hubert and Vinz were our stand out roles. They played against themselves so much, that the two of them became closer as the film progressed.

Watching Criterion's release of this film, it is impressive how much they put together for this double-disc set. The interview with Jodie Foster is a bit long, but interesting. She talks about her first impressions of the film, and her excitement about bringing "La Haine" to the US of A. While it showed a different side to Paris, the universality of the message Kassovitz was trying to bring to the screen; youth's anger towards leaders, corruption within the police, and unnecessary casualties of protest is still relevant here today. Albeit, the language is different - the message is the same. Kassovitz's audio commentary is a political one, occasionally discussing how the scene was created and the shortfalls of creating a independent film, he talks in length to his experiences within the ghetto, and the truth behind the police in France (as well as its leaders). He also interestingly enough, talks about his influences on this film, and throughout his career. Obviously, you can see the Scorsese references throughout (see "Taxi Driver"), but he talks in length about "Mean Streets", and how that film spoke to him more than any other big-budget Hollywood film he had seen. Included on the second disc are plenty of behind the scene moments as well as extended and deleted scenes that further demonstrate Kassovitz's ability, and how he transformed this color film, into a cinematic triumph.

VIDEO: "La Haine" is an instant classic. I recently watched it with a group of people, and it was very unnerving to them. In fact, I spoke to one about a week later, and the film still resonated within her mind. That demonstrates the power of Kassovitz's film. The message is clear, the storytelling is unique, and our characters are defined. These are all great ingredients to create a powerful film. I am happy Criterion has added this to their collection, and I look forward to reviewing more of Kassovitz's work.

VISUAL: The stark black and white made this film. In color, I don't believe it would have had the same effect. Kassovitz's use of camera angles and close up shots (as well as a couple of non-interrupted shots) take "La Haine" from your normal narrative to a complex story about revenge and anger.

SOUND: In his audio commentary, he talks about how sound may have detracted from the message. I couldn't agree more. His tactful use of slight music (Bob Marley and local/Western rap music) only assisted in creating the visuals of the ghetto. It was crisp, audible, and powerful. Criterion has transferred well with this film.

EXTRAS: Criterion packs them in. As discussed above, the audio commentary, Jodie Foster interview, the deleted scenes, and discussion on why "La Haine" was made round this film into a cultural story, instead of just a Hollywood movie. There is quite a bit you can learn about this film, but also the social structure of France - which again, takes this film from being just a normal non-New Wave film to an opportunity to make a change in society.

Overall, I love "La Haine", but be forewarned. This is not a "sit-down-on-a-Saturday-with-some-friends-and-a-beer" film. This is a thought-provoking slice of international cinema that demonstrates amazing actors in their craft, a film with a message, and a director who had little to work with, but used what he had with artistic talent. "La Haine" will remain with you long after the short credits roll, the shock of the ending will make you jump again and again (no matter the amount of times seen), and the discussion to follow remains a pivotal part to this film. I cannot watch this film back to back, but when I come across a need to experience cinema as it should be created, "La Haine" will be the first to come to mind. Impressive.

Grade: ***** out of *****

Movie Review: Great DVD
Summary: 5 Stars

This is a movie that everyone should see. La Haine stands on its own as one of the most gritty films of the 1990s. The documentary that comes with the DVD is also very interesting. Worth every penny!

Movie Review: Kassovitz's France: Paris, Je T'Aime, this is not
Summary: 4 Stars

Most US audiences know Mathieu Kassovitz as an actor - most notably the mystery beau on the motorbike in Amelie, the object of Audrey Tautou's affection. In "La Haine" ('Hate'), Kassovitz is writer/director with a searing look at the violent indolence festering in the projects that ring France's main cities. Paris, Je T'Aime (Paris, I Love You), this is not.

La Haine features one of the first major performances by Vincent Cassel, now one of France's major stars. Cassel has gone on to bigger and better things. Like Monica Bellucci (yes, he's married to her). Casel comes from acting royalty in France, making this lower-class, tough, thick-headed portrayal all the more remarkable. This is Cassel's stock-in-trade - see Eastern Promises (Widescreen Edition) for an clasic Cassel outing of this ilk.

Jodie Foster - a committed Francophile - does a nice review of the movie for US audiences on the DVD and helps place it into proper context. She relates that Kassovitz's film depicts a France that has welcomed in various Francophone immigrants, but then hasn't provided them with any shot of a reasonable future. Indeed the striking takeaway from the film is that the protagonists simply don't have a thing to do. That lack of activity leads to a building up of frustrations that get more acute as the film unspools.

About that Jodie Foster piece: be sure to watch it _after_ the film, not before. [I add this warning because in the on-screen contents list, Ms. Foster's discourse is presented as #1 in the numbered list, the movie itself as #2.] She goes through a shot-by-shot breakdown of Kassovitz's work. You need to see the film first; otherwise, her comments will lack relevance and may, in parts, act as a spoiler.

Movie Review: 3.5 stars out of 4
Summary: 5 Stars

The Bottom Line:

Guilty only of overplaying its metaphoric hands (how many times did we need to hear the story of the guy jumping off the building?), La Haine/Hate is a gripping story of three friends in the Paris suburbs (slums) which features incredible black and white cinematography and builds to a powerful climax--it didn't get much press in America, but do yourself a favor and watch it.

Movie Review: It matters how you land
Summary: 3 Stars

The film's black and white filming assumes an appropriate grittiness. So too the semi-documentary flavour. That violence breeds violence is the despairing story of the depressing society of the housing estates.The establishing image is of a graffiti, to which the film addresses itself. Kassovitz's film follows three young men through twenty-four hours. If the film has lost none of its punch since the mid 90s it is probably due to the reality of those continuing conditions. Racial intolerance and police brutality, the government's reaction to the malaise have only intensified. I felt the sudden zooms were effective and the closeups on the three leads facilitated the message. I liked the scale of the figures against the urban settings, the grubby subways stations, the flickering screens, the massive public sculpture. The explicit violence is familiar to me. I live in a racially divided town. Police intervention on the streets and the neighbourhood are commonplace. Though the civil diturbances, erupting out of langour and hopelessness, are not as seething, a bomb ticking, as per La Haine. From my tangent, the film was, if anything, a bit soft.

Write your own review

Summary of Hate [VHS]

It's easy to see why La Haine had such an explosive effect when it was released in France; its potent portrait of racial discord and life in the housing projects outside of Paris is at odds with France's egalitarian vision of itself. This impact wouldn't have lasted, however, were the movie purely a political statement; fortunately, it's a riveting journey that follows three unemployed young men (Said Taghmaoui, Hubert Kounde, and Vincent Cassel) as they wander and try to decide what to do with the gun that one of them has found. This simple scenario results in a remarkably complex examination of race, class, violence, and the abuse of power in modern society, yet never feels preachy or forced. Hugely influenced by American directors like Martin Scorsese and Spike Lee (particularly Do the Right Thing), La Haine riffs through different styles and techniques, yet the movie feels organic and whole, driven by a genuinely passionate point of view. Dynamic, reckless, sometimes obvious and sometimes subtle (and sometimes both; in one scene, Hubert and Said have been picked up by the police, who torture them for kicks. But watching the abuse is a rookie cop whose face quietly ripples with dismay, helplessness, and resignation), this is a must-see.

As is usual with Criterion releases, the extra features are excellent, including an in-depth but accessible documentary about the housing projects and riots that inspired the film, retrospective material on the making of the movie, behind-the-scenes horseplay, intriguing deleted scenes (with brief but revealing explanations about the deletion from director Mathieu Kassovitz), and a wonderfully articulate introduction by Jodie Foster, who championed the film upon its release and distributed it through her production company. The audio commentary by Kassovitz, who's fluent in English, is circumspect and thoughtful, with flashes of sardonic humor. Kassovitz's directing career has turned decidedly less political (his more recent movies include The Crimson Rivers and Gothika), but his perspective on La Haine and its inspirations remains sharp and lucid. --Bret Fetzer

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