THE MEASURE OF A MAN/ LA LOI DU MARCHE

France, 2015, 93 minutes, Colour.
Vincent Lindon, Karine de Mirbek, Matthieu Schaller.
Directed by Stephane Brize.

This is a very dignified title for a film, as befits this portrait of an ordinary working man trying to do his best for his family, for himself. But, the French title is particularly relevant, La Loi du Marche, The Law of the Marketplace.

Veteran French actor, Vincent Lindon, won the award for Best Actor at the Cannes Film Festival in 2015. And, the film also won the Ecumenical Prize, the jury noting that in many ways this portrait was prophetic in terms of presenting a story about contemporary struggles, especially in the workplace, a film about justice.

We are immediately introduced to Thierry, Lindon’s character, already involved in conversation with an official in an office which interviews men who have been retrenched from jobs when their company has collapsed, which advises them about courses for retraining. Thierry vigorously explains that the course recommended, to drive cranes, was not helpful to almost all of the men assigned to it, a waste of time with no job prospect at the end. The official mouthes sympathetic words but has all kinds of explanations and excuses.

This filming of Thierry during conversations is continued throughout the film. He has an interview with a woman at the bank, checking possibilities for a loan, but admitting that he does not fulfil the conditions because of his work situation. At another stage, he and his wife have decided to sell their mobile home, have had a phone guarantee of sale, but the prospective buyer is reneging on his agreement, wanting the price lowered, but to a price which Thierry and his wife could not afford.

In a quiet scene in the family kitchen, the audience discovers that their adolescent son, Mathieu, has cerebral palsy. Playfully, he asks his parents about how many drops of water can be put in an empty cup – (and for those who have not yet worked it out, his mother does get the answer, one drop, and then the cup is not empty!). Material has ambitions to go to college to study, but is finding his final year courses difficult, and, under pressure, he is not doing well in the tests. Then, there is a conversation between Thierry and the official in charge of courses.

Just when the film becomes so serious that the audience is tempted to be as desperate as Thierry, there are some pleasant interludes, especially when Thierry and his wife go to a dance class – and later, they dance at home, inviting Mathieu to join them.

Actually, Thierry does get a job, in security at a supermarket, on the floor and observing customers, and, after a tutorial, observing all the screens from the video cameras, learning the habits of customers who are shoplifting (and two confrontations, one of a cheeky young thief, the other of an old man who has no more money) and observing the behaviour of the women at the checkout, looking to see whether they are acting dishonestly – and two confrontations with women, one with tragic results.

By and large, the characters all talk in principles and logic, what is right, what is possible, what is an offence… With no leeway for personal issues or circumstances to be taken into consideration.

Depending on our own stances and our criteria for making decisions, all characters are acting correctly – or should be more lenient and understanding in confronting people in need. Which is the final dilemma for Thierry.

1. The two titles? The French title and the focus on the Law of the Marketplace? The English title and the focus on Thierry as a man?

2. Sense of urgency in the plot, characterisations, issues? Issues of justice, fairness, work, retrenchment, burdens, finance, family…?

3. The French city, officers, bars, homes, banks, courses, retraining, supermarkets and security? The musical score?

4. The folks on Thierry, his age, work experience, the company folding, retrenchment, advice for upgrading, courses not relating to skills, no job prospects? Discussion with his friends, the complaints? His wanting to move on? The visit the bank, his needs? No loan? His relationship with his wife, the domestic scenes, the meal with their son, his cerebral palsy, the riddle about the empty glass? The relaxing atmosphere of the dance lessons – and his later dancing with his wife, welcoming his son to the dance? Trying to sell his mobile home, the agreement by phone, price negotiations? His car breaking down, public transport? His son’s education and the discussions with the education department? His work in security, on the floor, the cameras and surveillance, the thefts, his presence at , the discussions, the women at the checkout points and their stealing? The cumulative effect?

5. A film of thinking, the focus on principles, logic rather than feelings?

6. Verbal, the discussion about the futility of courses, the discussion, the bank, the selling of, the education place for his son, the job and the cases, the final loan?

7. Thierry and his character, ordinary man, good, in the city, his age, work, the selling of the home, the difficulties, financing, close-knit family, his son? A man of integrity? The end and the effect of the shoplifting and?

8. His wife, good, the riddle of the empty glass, the son, the meals, support, the dance lessons, selling the mobile home, going to the education meeting, the happiness of the three dancing?

9. Son, cerebral palsy, age, at home, love, intelligence, the empty glass, his hopes for records, failing the tests, the pressure? Meals, his father bathing him? Hope?

10. The picture of officials, their arguments, rules and explanations, logic and principles?

11. Surveillance, the detail, Thierry on the floor, watching the cameras, being coached on what to look for, the techniques of shoplifters, the young man stealing the charger
and his denials, the old man not having any money, Mrs Ansemi and taking the coupons, the other checkout lady and her stealing?

12. Mrs Anselmi, killing herself, the story of the sun on drugs, Thierry and the others at the funeral?

13. The technique of many sequences not being finished, leaving it for the audience? And the cumulative experience?