As in the film, they are routinely portrayed in the media as violent, dysfunctional spaces. Their social deprivation and cultural alienation are echoed in their topographical isolation from the city center. The cités concentrate social problems: run-down housing, a high concentration of young people from immigrant backgrounds, drugs, and rampant unemployment. Unrest in the working-class banlieue was a familiar phenomenon before La haine.
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As the daily Libération reported, after the Cannes gala at which the film received a standing ovation, “uniformed police supposed to form a double ceremonial parade ostensibly looked toward the sea in other words, they turned a hateful back to the team who made the film that hates them.” La haine is punctuated by a ticking clock and by Hubert’s story of a man in free fall-Kassovitz’s metaphor for the banlieue as social time bomb.
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No wonder La haine instantly, and despite Kassovitz’s denials, acquired the reputation of being antipolice. In the process, the film shows clashes between police and youth, and in one famous scene, two policemen sadistically molest Hubert and Saïd while a trainee officer watches. His death in the hospital propels Vinz (Vincent Cassel), Hubert (Hubert Koundé), and Saïd (Saïd Taghmaoui) on an eventful journey through their suburban estate ( cité) and then central Paris, ending in shocking violence. The narrative spring of La haine is the shooting of a young beur (a second-generation North African) by the police during the riots that open the film. Before M’Bowole, another famous case, that of Malik Oussekine, in 1986, had had particular resonance for him, and it is referred to in the opening montage. For Kassovitz, however, they were no cause for laughter. More than three hundred mortal “slipups” have been recorded since 1981-common enough to have become a topic for comic films. He wondered in an interview “how a guy could get up in the morning and die the same evening in this way.” M’Bowole’s officially accidental death is one of the many bavures that have plagued the French police in recent decades. Kassovitz started writing the script of La haine on April 6, 1993, the day Makome M’Bowole, a young man from Zaire, was shot while in police custody in the eighteenth arrondissement of Paris. This black-and-white chronicle of twenty-four hours in the life of a mixed-race young male trio from a run-down banlieue has resonated ever since.
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The explosive contents of the film, its unusually young creative team (Kassovitz and the three lead actors were all in their twenties), the fact that it won the prestigious best director prize at Cannes, its huge popular success, and the media circus that followed turned La haine into a phénomène de société that reached beyond its cinematic value. The convergence of Mathieu Kassovitz’s film and social unrest, however, was nothing new: at the time of its release in 1995, La haine was already, and controversially, linked to suburban violence and police bavures (slipups). Thus the book, which coincided with the tenth anniversary of the film, proved timely for unexpected reasons. Every night, as in the Bob Marley song we hear over the credits, there was burning and looting and clashes with the police-which I could hear, as I was staying with my parents, who live next to one of these “difficult” suburbs.
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See the seller's listing for full details.To start on a personal note: I wrote a book about La haine that came out in November 2005, just as the Paris suburbs (banlieues) erupted in an unprecedented wave of violence. Is in original shrink wrap (if applicable). Brand New: An item that has never been opened or removed from the manufacturer’s sealing (if applicable).