Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!
Mesrine: Public Enemy #1
The story of Jacques Mesrine, France's public enemy No. 1 during the 1970s. After nearly two decades of legendary criminal feats -- from multiple bank robberies and to prison breaks -- Mesrine was gunned down by the French police in Paris.
In my review of part one of this double feature, I mentioned a downside to the film was that things seemed very embellished and hard to believe. Well…I must say, it was only after finishing this second and final film that I went onto my good friend Wikipedia to read up on the true story of Jacques Mesrine…and shockingly enough, somehow/someway…a lot of this crazy shit actually happened. I guess I should never assume.
Anyways…onto the film itself. This second part is pretty much comparable to the first. Lots of violence, lots of action, very well executed…all around very entertaining, although maybe a little bit more methodical than the first film. I honestly have nothing valuable to add when comparing…
That poster tells you everything you need to know about Jean-Francois Richet's thrillingly violent part II of his film about Jacques Mesrine. As Public Enemy #1, our bank robbing psychopath/sociopath (take your pick) is only going to end up one way....dead.
As biopics go this has been fairly entertaining. We get a distinctive view of what Jacques Mesrine was really like, but it does seem like we've only just scratched the surface. A complex man with a psyche as complicated as a bag of cats, he never seems to have any peace between robbing casinos, robbing banks, and escaping from jail. One of the things that baffled me here is how bad his disguises were. He's infamous, a wanted man,…
Don't forget your dog
Cassel's Mesrine embodies the gangster archetype of irresistible charm coupled with unimaginable violence, a ferocious intellect bent only toward crime, the kind of character that sinks its teeth into the back of your brain. And to put together a film where you’ve shown how it ends twice already, and yet still make that ending unbelievably tense and powerful: that is spectacular filmmaking.
This second part of the life and crimes of notorious French criminal Jacques Mesrine doesn't have quite the sweep of the first and feels like a lesser piece, although that may be down to the man himself.
Here the action is confined almost entirely to France, although there is a brief sojourn to England as indicated, I kid you not, by the sight of a couple of Bobbies walking along the street swinging their truncheons.
And perhaps that feeling that this doesn't reach the heights of the first instalment is down to the realisation that he has become interested more in his own image than anything else. It's not just enough for him to make daring escapes from custody, he's…
As I expected, no real change from my thoughts on the first part. The second part, to me, is somewhat better constructed, more energetic, and more evenly paced, but basically wastes Mathieu Amalric, Olivier Gourmet (who looks unrecognizable), and Ludivine Sagnier in parts that never really develop as they should. This is entirely Cassel's show, and he's fully up to the task. His performance is the main thing making this film any better than your average true crime thriller.
The second part does somewhat address my earlier concerns about the filmmakers' take on Mesrine, invoking more elements of his belief in his own cult of personality and even a degree of fate. It's not Public Enemies, though, and lack's that…
A French movie that isn't softcore pornography? A french movie about a French gangster? It being a really a good movie is like gilded icing on a tasteful cake.
Die Jagd der Polizei auf Mesrine und seine selbstzerstörische Ader stehen im Fokus des zweiten Teils der "Mesrine"-Geschichte von Jean-François Richet und Vincent Cassel als der "legendäre" Schwerverbrecher
Der Film hat ähnlich wie der erste Teil unter etwas zu bekannten Story-Elementen zu kämpfen, brillierte aber immer dann, wenn Cassel wieder einen Gang höher schaltet und durch sein Charisma, diese Probleme geringer erscheinen lässt.
Teil 2 bringt unter anderem auch eine Figur in den Mix, die von Mathieu Amalric verkörpert wird, was auch als Plus zu verbuchen ist.
Abschließend muss man wohl noch erwähnen, dass diese zweiteilige Gangster-Saga zwar nicht das Rad neu erfindet, aber zusammengenommen, eine erschreckend fesselnde Geschichte erzählt - die auf Tatsachen und echten Tragödien basiert.
cassel is such a charming bastard
Two part film series chronicling the 20 year run of France's most notorious gangster played with all the gusto and grit offered by Vincent Cassell. The two Mesrine films struggle to elevate itself higher than what the genre already has to offer, giving us the same stylistic flourishes and period details that have become a staple of the genre, along with lean well directed shootouts mixed with other tense escape plots.
I think I preferred the first part. Not by much, mind you, but I think it had a few more memorable moments overall.
Much like Killer Instinct, Public Enemy #1 is a good movie with a handful of great segments throughout--the opening escape from the courtroom, the prison break, and the ending all stand out. But none of these scenes were really as tense or exciting as the prison break from the first part. And like part one, this one has the same problem where the lack of narration or exposition means that things seem to happen at random.
Certain details are muddled too, which leads to situations that just seem really weird and unrealistic. Take for instance the scene…
Don't forget your dog
This review may contain spoilers. I can handle the truth.
Loved how during one of his stretches inside he looks like mid-90s Springsteen.
The great Mesrine is getting too big and too flashy for his own good and the story just gets darker. Brilliant performance from Vincent Cassel, just a little less violence would have done ok for me...
Etwas weniger gelungen als der erste Teil.
Step One: Go to www.random.org.
Complete list. :-(
Preserving this list for posterity as it disappeared.
RIP Allan Fish, your film taste and writing lives on.