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There are holes that we dig to escape the hole, as in Jacques Becker's eponymous film. The Hole (1960) was his last film, his ultimate masterpiece before he even went to join one of which one can not escape. The film belongs to a genre of which he is the most emblematic. From The Great Illusion (1937) by Jean Renoir to Reptile (1970) by Mankiewicz, via A Sentenced to Death Escaped (1956) of Robert Bresson or The Demons of Freedom (1947) by Jules Dbadin, they are so many great clbadics that echo the news
The evasion, last Sunday, of Redoine Faïd is spectacular. It plunges us into the best of movies and, at the same time, takes us out of fiction. In a movement of abrupt return to reality, she reminds us that the death of the police officer, Aurélie Fouquet, was not only an episode of the scenario of a multi-recidivist of the robbery and the beautiful. 19659003] Sentenced to 25 years in prison, "the writer" as his mates call him after the publication of his autobiography, is not a child of chorus. None of the fictional characters also found in Don Siegel's Escape from Alcatraz (1979) or Luke Cold Hand (1967) by Stuart Rosenberg are also altar boys and all are obsessed by one thing: to escape. In Hole the four detainees see a new arrival in their cell. Mistrust. Do they have to put it to the scent or cancel the escape plan? The desire for freedom is so great that they unpack everything but question the new kid. What punishment does he incur? If he is there for a long time, he can be trusted because the desire to escape comes with pain. "Fortunately we have sugar! Coffee, it looks like geranium" said Monseigneur, the fun of the band, whose replica takes on a metaphor. Sugar is what comes from outside
"Are you aware that gangsters are inspired by your cinema, because that's what happened to me?" said Redoine Faïd to Michael Mann, the director of "Heat"
Beyond the dialogues carved with the knife, the film is a rare testimony on the prison daily life: search of the cells, inspection of the parcels, parlor and workshop. The camera is a scalpel that, through long, close-up shots, examines the life of this small community. From the beginning, a documentary tone is given by a man who announces, face camera, a film faithfully inspired by his own life-which is true since the actor who plays Roland has really dug the floor of the prison of Health to try to escape through the sewers. All this is told in the book of José Giovanni, co-scriptwriter of the film and co-detained Roland Barbat.
There are escapes where you dig, others make you hostage, then he There are those where one hides in the dirty linen, and those where a helicopter makes you leave by the airs. Escape techniques, Redoine Faïd studied them all but not at the University, no! There is still no master in banditry. It's the cinema that taught him everything. The fiction is inspired by the lived experience and in return nourishes the imaginary.
After the robbery, the prison and the escape, there is the cavalcade. Many movies tell it. Redoine Faïd knows that they rarely end on freedom.
Helicopter escape is the very subject of The Girl with the Air (1992), with Beatrice Dalle, himself inspired of the true life of Michel Vaujour. Redoine Faïd, not only loves cinema, but has never hidden the influence exerted on him Steeve McQueen, Robert De Niro but especially Michael Mann, director he will pose for a meeting at La Cinémathèque française. Heat he tells him, is the absolute reference in the circles of banditry. Redoine Faïd had already written to the president of the Cinémathèque, Serge Toubiana, and this time he has the opportunity to ask his question directly: "Are you aware that gangsters are inspired by your cinema, because that's me what happened to me?" The question is old as the seventh art and poor Micheal Mann smiles, embarrbaded: let's move on to the next question. In Intelligence of the cinema texts compiled by Marcel L'Herbier, one can read an indictment, dating from 1918 and an author today unknown, saying "the police films, criminals, licentious, and demoralizers form with the help of evocative billboards, future burglars, future rascals, future bandits. "
Can we blame the cinema? Is it "the school of vice", as its first detractors, who rose, at the beginning of the last century, against "the art of bad taste and immorality". Redoine Faid asks himself the question. Gangster films opened the door for him and escape films gave him a new freedom. There are movies that we watch too much but others that we do not look enough. After the robbery, the prison and the escape, there is the mare. Many movies tell it. Redoine Faïd knows them as well as the others. He knows that they rarely end on freedom. Morality is safe. The influence of the cinema is altogether relative
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Also read:
• The first images of the escape of Redoine Faïd, filmed by an inmate
• Escape from Redoine Faïd: the pilot of the helicopter tells his flight, "two Colts on the head"
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