Albert Dupontel

  • Le convoyeur [Cash Truck] (2004)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2022) In an ideal world, I would have the time, access and luxury to be able to compare American remakes with their foreign-language originals whenever I feel like it. In practice, though, this is rarely possible: I’ve got other movies to see, the original is often obscure enough to be unavailable, and going through the trouble of procuring it can be more trouble than it’s worth. Sometimes, though, stars align according to the weirdest circumstances. So it is that I was pleasantly surprised to see Le convoyeur show up on the Canadian offshoot of the French cable-TV channel Studioplus, mere weeks after seeing its American remake Wrath of Man. As few will be surprised to learn, this French-language original is leaner, meaner, and not quite as satisfying as the slick Hollywood remake, even if that remake had issues of its own. Much of the story remains the same, however, as a man is hired by an armoured-car company and seems adequate for the job… until we follow him off-hours and discover that he’s clearly planning something by scrutinizing his co-workers and making elaborate notes on the company while it’s being sold off to new owners. What’s going on? Well, more or less the same as the remake: he’s waiting to see if robbers will strike again, as he has revenge on his mind. While Wrath of Man could occasionally pass as violent entertainment, Le convoyeur sometimes forgets about the entertainment: there are a number of brutal scenes, more troubling events along the way, and the ending is merciless. I wouldn’t necessarily claim that the original is better: there are a few loose ends not satisfactorily tied up, some disappointing moments and many missed opportunities made more obvious by the remake. One thing I did like, however, is Albert Dupontel’s lead performance—he plays a true ordinary man (unlike what happens in the preposterous remake) and sells a role that requires an impressively steely attitude. The rest of the film I can take or leave—Jean Dujardin is not bad in a dramatic role, but the ending is saddled with the choices made by the film so far. You can rightfully see Le convoyeur as a foundation on which Wrath of Man was built, sexed-up and made even more high-concept. Which is not that bad whenever comparing a Hollywood remake with their foreign-language original.

  • Chrysalis (2007)

    Chrysalis (2007)

    ByChristian Sauvé Movie Review

    (On DVD, August 2010) Few people in North America have seen this French Science Fiction film: I don’t think Chrysalis was ever released in theaters, even in Quebec, and its R1 DVD release has been in the direct-to-video ghetto.  That’s a shame, really, because even though the film is a mixed bag, it does manage to tell an ambitiously twinned story based on an authentic SF device.  Albert Dupontel, equally at ease in action sequences and smaller-scale drama, hauntingly plays a grieving “mad dog” policeman hunting down a master criminal.  But the key to Chrysalis ends up being in another storyline featuring a mother and her convalescent daughter.  It’s less straightforward than the usual near-future action thriller, and quite a bit more stylish as well: Writer/director Julien Leclercq never hesitates to show us conventional scenes in unconventional ways, starting with the cold black-and-blue cinematography.  His choices are often effective, especially during two spectacular action sequences: The opening shoot-out opens up with a bang, whereas a later foot-chase sequence starts with a generously long one-shot that is more impressive than fifteen frantic cross-cut.  Film students will be pleased to note that the film’s style differs according to the subplot: The police scenes are brutal, whereas the camera lingers calmly in the medical clinic where much of the other half story takes place.  Too bad that the inane dialogue often drags on long enough to make us notice the limits of the film’s budget: While the Paris 2025 establishing shot, holo-gadgets and two concept cars are convincing, the film eventually feels constrained… although it’s an eloquent compliment to the design crew that it takes a while before realizing so.  Overall, Chrysalis is a pleasant discovery that’s a notch above the usual direct-to-video material.  The DVD contains an informative making-of documentary that discusses the film’s action highlights and mentions the cultural challenges in making an “anticipation” film in France (it also mentions the design contribution of Renaissance’s director Christian Volckman).  There were a few better SF movies in 2007, but not that many more: SF fans shouldn’t ignore this one.