While it might appear that the cinematographers were winging it, a good bit of the time, one of the supplemental features on this film clearly indicates otherwise. The strategic shots of the protagonists highlight their ethnic differences and, yet, their oddly crafted camaraderie makes this a moving drama. It was a bold move to make a film noir in the ‘90’s. Director Kassovitz stamps his own perspective on the seething social unrest that culminated in bloody riots and the election of president Nicholas Sarkozy. But La Haine is much more than an imitation of the mean streets cinema genre. There is an obvious Martin Scorsese influence here, for example, Vinz’s impersonation of the Travis Bickel “you talkin’ to me?” scene from Taxi Driver. Said, Hubert, and Vinz belong to the disenfranchised, unemployed youth growing up in the banlieus (projects) and their rather aimless existences. Casting this as a film noir with a contemporary soundtrack enhances the tension of the relatively short time span that is covered. In La Haine (Hatred), director Mathieu Kassovitz makes a strong statement about the times, circa mid-1990’s, with an odd trio of Arab (Said Taghmaqui), African (Hubert Kounde), and Jew (Vincent Cassel), who work their way in and out of trouble with the authorities and alternative social elements. While France has prided itself on liberté, égalité, fraternité, this motto does not appear to ring true for the ethnic minorities portrayed in this film. The amalgamation of immigrants into France has been a bumpy ride for decades.
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