THE KID WITH A BIKE (LE GAMIN AU VELO)

Belgium/France, 2011, 87 minutes, Colour.
Thomas Doret, Cecile De France, Jeremie Renier, Olivier Gourmet.
Directed by Jean- Pierre and Luc Dardenne.

For insight into people and into their social contexts, audiences have found the films of the Dardennes Brothers from Liege movingly and expertly made. The brothers have twice won the Palme d’Or in Cannes (for Rosetta in 1998 and for The Child in 2005). They won the Special Jury Prize for this one.

This is a brief film, running under 90 minutes, more like a short story but no less effective for that. It opens instantly with a disturbed young boy resisting the efforts of a counsellor as he rings and rings his father’s phone number – which has been disconnected. Then he runs. Cyril (Thomas Doret in a completely convincing performance, his first and so far only screen appearance) has been left at a school a month earlier and his father has disappeared. He has also sold his son’s bike.

When Cyril eludes teachers to go to his father’s last address, he takes refuge in a doctor’s waiting room, clinging to a woman so that he won’t be dragged away. This begins a new relationship which could save Cyril from himself and his disappointment with his father. The woman, Samantha, is played by that fine actress, Cecile de France.

Audiences will have formed strong opinions about Cyril and his irascible, brat-like behaviour and attitudes which are hard to take. Whether they will immediately identify with Samantha and her kindness and patience or will take a longer time to come to terms with the disturbed boy gives the film quite some emotional tension.

The impact is in the small detail: Samantha offering to take Cyril for weekends, his initial surly manner and conduct, her efforts to track down his father (Jeremie Renier, who was the irresponsible father in The Child), her taking Cyril to a fun fair with her boyfriend. Cyril is desperate for loving attention and falls in with a local gang which leads to some disastrous behaviour. Despite all this, Samantha continues to help Cyril.

Just before the end, when we might think and hope that all will be well, there are some violent moments – then Cyril riding his bike towards his future with some confidence. Not a neat ending, but hopeful for a finely made and thoughtful film.

1. A slice of life, Belgian life, universal application?

2. The work of the Dardennes brothers, their themes, humane characters, their skill in observing characters and life, drawing in audience sympathy and understanding?

3. The Belgian settings, the towns, the school and institutional touch, the streets, the hairdressers, the shops, the woods? The realism? The musical score – and the orchestral moments for drama?

4. Cyril’s story, the introduction, at the home, on the phone with the discontinued line, the counsellors trying to help, his running, their restraining him, his compulsion to find his father? In the school for a month, no word from his father? His pretending to go to the toilet, getting out of the school, the bus, going to the apartment block, the concierge and his information, the door, getting into the building, hiding in the doctor’s waiting room, hanging on to Samantha while he was being dragged away? His being allowed to see his father’s apartment, empty? The insights into him initially, observing his behaviour? His thinking only good of his father?

5. Samantha, in the doctor’s waiting room? Her hearing about his bike? Buying the bike back, bringing it to the school? As a person, her age, her relationship with Gilles? Not married, no children? Cyril asking could he come to visit her? Her immediate agreement? Coping with Cyril’s moods? Her attention, his watching her and Gilles in bed, taking him to the carnival, his wanting to be alone on the ride? Gilles and his reaction – and Samantha’s later choice in taking Cyril’s side instead of Gilles’? his going to the shops and the garage to track down his father, getting the name of the person who bought the car and bike?

6. Samantha, tracking down Cyril’s father, their going to meeting him, his not coming, their going to the restaurant, knocking on the windows, the loud music? The father letting them in, the son kissing the father, talking, the father working with the food, explaining what had happened? His explanations to Samantha, her return and making the father tell his son the truth about not wanting to see him?

7. The effect, Cyril’s sadness, later the robbery and his offering the cash to his father, his father’s refusal?

8. The boy stealing the bike, Cyril chasing, the second occurrence, meeting the gang, the leader? The option of playing football or going with the gang? His fight, the leader calling Cyril Pitbull? His saying he wasn’t a dealer? Getting Cyril’s trust, paying for the punctured tyre, playing the computer games, the rehearsal for the robbery and taking Cyril through it in detail?

9. Samantha, ringing Cyril with the mobile, the search, with Gilles, finding him, Gilles leaving?

10. The robbery, hitting the owner, trying to take the cash, hitting his son? The escape in the car, the leader ousting Cyril and abandoning him? The threats? Cyril going back to Samantha’s, the police? Samantha continuing to support him – and going for the meeting with the shop owner, the restitution, the apology?

11. Cyril staying with Samantha, their both riding bikes, the picnic, going to the supermarket to prepare for the barbeque? The young boy and Cyril’s previous refusal to go to the cinema, welcoming him to the barbeque?

12. Cyril and his going to the service station, buying the charcoal, Martin and his attack, chasing Cyril, Cyril going up the tree, being hit by a stone, falling? The son calling his father? Their plan to lie to the police if Cyril were dead? Cyril getting up, the mention of the ambulance and his concussion, his leaving?

13. Cyril, recovering, getting on his bike, riding home – into his future? The audience more optimistic about his future? Admiration for Samantha?