That’s the literal translation of director Stéphane Brizé’s La Loi du Marché, the market here being the neoliberal market economy (the film’s actual English title is ‘The Measure of a Man’). It was in competition at the Cannes film festival, which ended yesterday and with Vincent Lindon—the only professional actor in the film—winning the best actor award. The film opened in France last week and, as it happens, I saw it yesterday evening, learning about Lindon’s prize in a newsflash some ten minutes after leaving the theater. I can’t say if it was well-deserved, as this is the only one of the nineteen films in competition at the festival I’ve seen—which is logical, as none of the others have opened yet—though he did put in a very good performance, as he always does. Lindon is a fine actor, though his persona, for me at least, tends to overwhelm whatever role he’s playing. He does have range, though is always Vincent Lindon, if that makes sense.
In this, he plays a 51-year-old member of the skilled working class named Thierry, who has been laid off from an enterprise that, as the viewer is informed, was making a profit but with the company home office, for reasons not having to do with its bottom line, deciding to close the plant and send the personnel to Pôle emploi. Collecting unemployment compensation for close to two years, Thierry is taking a mandatory retraining course but which is a waste of time—and he and everyone he has to deal with know it—as, at his age and given the way the system works—and with the unemployment rate in France being what it is—there is almost no chance it will yield anything for him. With a wife in a low salary job, a handicapped teenage son, and unemployment checks down to €500/month—and refusing to consider selling their modest condo, which would compromise their (barely) middle-class status and all that they had worked for—he takes a job as a security guard in a hypermarket in a shopping center (which looks to be in the Paris banlieue, though it could be anywhere), though which mainly involves monitoring the video surveillance cameras, to spot not only shoplifters but also employees—principally cashiers—who may be cutting corners or doing things they shouldn’t. And it is made clear to him that the company is looking to shed staff, so his fellow employees are particular targets of the surveillance and nabbed for transgressions that are, objectively speaking, not a big deal but nonetheless a pretext for getting fired. And in France these days, one knows what it means to suddenly lose one’s job, particularly under such circumstances and if one does not have in-demand skills to begin with. So Thierry, who lost his previous job in a company that was looking to increase its profits—and no doubt executive compensation too—at the expense of its personnel, now finds himself as a peon on the side of le patron, not only getting colleagues fired but nailing shoplifters who, in fact, don’t have the means to pay for the food they’re concealing in their coats or purses, i.e. who are in much the same financial situation he was facing before, out of desperation, he took his minimum wage job.
The pic is an obvious sociopolitical commentary from the opening scene, on the nature of capitalism in our era and the precarious state in which an ever larger portion of the workforce finds itself. Lindon and Brizé—the two collaborating closely in the film’s making—have made this clear in interviews, with Lindon—who does not conceal his gauchiste views—telling the JDD, in regard to film’s story, that “delation makes me want to vomit” and “I am a man angry [at finance capitalism] and, above all, furious at injustice,” and Brizé denouncing to Le Monde the fact that, these days, “people are eliminated for the most minor of infractions.” I thought the film handled its subject with sufficient subtlety—more so than Ken Loach or Robert Guédiguian would—notably the way Lindon’s character dealt with each situation he was confronted with. The film depicts the reality of the working lives for the lower half of French (and American, British, etc.) society more accurately than any other I’ve seen in a while. On this, it’s almost documentary-like. But some—e.g. those whose views on economic questions are informed by The Economist magazine and Wall Street Journal editorial page—may find the pic’s engagé side to be heavy-handed, if not downright agitprop. On this score, there are indeed a couple of sequences, including the ending—no spoilers—, that are borderline. Mais peu importe. It’s a good film. If you are, however, the kind who sees hedge fund managers as wealth creators and “makers”—and who considers the Thierrys of this world to be “moochers” and “takers”—then the movie is definitely not for you. But if your world-view is the opposite of this, then you’ll likely appreciate it. Hollywood critics who saw the pic at Cannes gave it the unreserved thumbs up—here, here, and here—as did those in France, whose reviews are particularly gushing. And people in the media here were positively thrilled at Vincent Lindon winning his prize. He is clearly well-liked by those who’ve met him (I’ve seen him a couple of times in public in the 6th arrondissement; he seems like a cool guy). Trailer is here.
French cinema was a big winner at Cannes, with the Palme d’Or going to Jacques Audiard’s ‘Deephan’ (which opens in August) and Emmanuelle Bercot winning the best actress award ex-æquo for her role in Maïwenn’s ‘Mon roi’ (opens in October). Bercot, it so happens, was also the director of the film ‘La Tête haute’ (Standing Tall), that opened the festival (out of competition) two weeks ago, and which immediately hit the salles here. I’ve seen it. It’s good. Will have a post on it soon. Many good films coming out in France these days. Whoever said French cinema was in decline?
One French film that came out recently and with a very similar theme to the above discussed one, is director Pierre Jolivet’s Jamais de la vie (English title: The Night Watchman). This one is also about a man in his early 50s, here named Franck and played by the Belgian actor—and Dardenne brothers’ favorite—Olivier Gourmet—the similarities with Vincent Lindon are striking—, who, one understands, had a decent working class job—and was as a union delegate—but lost it ten years ago, now works the graveyard shift as a security guard at a hypermarket in a shopping center in a soulless Paris banlieue (sound familiar?), and spends his off hours drinking en suisse in his flat in his cité high rise—he lives in la zone—where he knows and gets along with everyone, including les jeunes. He was clearly a leader during his factory/union days but has had a tough time since, and is looking at a bleak future financially, with the necessity of working till he’s 70—all but impossible in France—to collect a livable pension. The social commentary is pretty obvious, though Franck’s attention is directed not at his employer or finance capitalists but rather criminal elements among his watchmen colleagues. It’s not a bad film—it certainly held my attention—and is carried by Gourmet, who’s in almost every frame. It’s quite a performance on his part. He’s a real screen presence. THR’s review is here. Trailer is here.