UN PROPHETE
France, 2009, 149 minutes, Colour.
Tahar Rahim, Niels Arestrup.
Directed by Jacques Audiard.
He's not that kind of prophet. Some Marseilles criminals declare him a prophet when he calls out that there are animals on the highway before their car strikes a deer. But, a prophet as proclaiming God's message, no way. Rather, he is a thorough example of an Italian Renaissance prince as described by Macchiavelli.
For Malik el Djebena it was not always thus!
In Jacques Audiard's bold, graphic and intriguing film, Malik is 19, an orphan who has grown up in juvenile centres and has been arrested for attacking police.
We enter, as an audience does in the tradition of prison films, with Malik, the examination and search, the prison garb, the cell... Once he has been supervised, he is settled into his own cell. We sea meals, showers, the yard and an immediate attack on Malik for his sneakers and to show him who is boss.
What follows is the saga of Malik's life and growth in prison – and the film runs for two and a half hours – and he takes the first of different and unforeseen turns.
He is cajoled by Cesar, the kingpin of prisoners, head of the Corsican contingent in jail, a strong force who have an antipathy towards the increasing number of Arabs into killing another prisoner or Cesar will have Malik killed. Initially reluctant, he does slash the victim's throat. Then, in a stylistic flourish, along with the visualising of Malik's dreams, the man's ghost appears to Malik periodically, warning him, a counselling presence.
This is the tale of an illiterate youth who uses his wits to learn at prison classes, including economics, who serves the Corsicans but is always listening, finds himself trusted by Cesar to do jobs for him on his day releases but who uses the opportunity to set up his own hash smuggling enterprise, does deals with various rival gangs and finally manipulates crises (and a massacre) that leaves him on top of the world. Can it last? (In fact, a sequel would be interesting.)
Audiard has made some striking and stylish dramas (Sur Mes Levres, The Beat My Heart Skipped). Tahar Rahim as Malik, from young to confident adult, changes physically and psychologically (and immorally) before our eyes. Niels Arestrup as Cesar is a powerful foil to Rahim.
A brutal but effective depiction of the world of crime.
1.The title, the traditional meaning of prophet, the use of the term with the sighting of the deer? Islam and the prophet?
2.The traditions and conventions of prison films? This film’s use of those traditions, offering something more, psychological drama?
3.The interiors of the prison, Malik’s arrival, the inspection, clothing, the cell, the yard, the room, solitary, the showers, meals, offices, schoolroom? Realistic?
4.The contrast with the outside: Paris, the cars, streets, the plane, Marseille, the countryside, homes? The differences for Malik? The musical score? The use of Mack the Knife?
5.The film showing Malik from nineteen to his mid-twenties, an ignorant youth to becoming a crime boss? How convincing was this journey?
6.Malik at nineteen, coming into prison, his scars on his face, the long hair, the handcuffs, being searched, alone, surveyed by the authorities, given his own room, settling in, in the yard, the sneakers and his bashing, work, sewing, learning skills, learning to read, economics, in the shower, the approach by Reyban, the set-up from Cesar, the hold Cesar had over Malik, to kill Reyban or be killed? His reaction, trying to get the guards involved, Cesar’s men bashing him?
7.The Corsicans in prison, as a group, their own language, Cesar as the overall boss, walking around with his entourage, his links with the guards, his control, freedom? The group anti-Arab? The growing number of Arabs? Picking Malik to be the killer? Cesare giving him the commission, the result, Cesar protecting him, Malik becoming the servant?
8.Malik, the razor blade and training himself to have it in his mouth, the blood? The set-up with Reyban, in his cell, talking, Malek’s reaction, suddenly deciding to kill him? The blood, washing his shirt? The presence of Reyban in the later part of the film, haunting Malek? His counselling, wisdom, a ghostly presence? Malik admitting to the criminals in Marseille that he had killed Reyban?
9.Malik and the passing of the years, growing physically older, short hair, longer hair, moustache, looking normal, growing up, standing up straight? The contracts? With the Corsicans? The school, Ryan and his advice? The economics?
10.The day leave passes, Malik doing his own deals, Ryan and the help, the hash, the plans, the contacts, the movement of the drugs, distributing them? Yet doing his work for Cesar? His being picked up, the cars, delivering cases, getting the battered man? Going to Marseilles, his enjoyment of the plane ride, his dealing with the boss in Marseilles, the drive into the countryside, the hitting of the deer, paddling in the beach, the information for the deal? His own deal with Marseilles about the Egyptian who was muscling in on his trade?
11.The Egyptian, his contact in the prison, the photograph of his mother and the threats?
12.The release of the Corsicans, their going back home, Cesar alone? Malik still his servant? His explanation to Cesar of why he remained as a servant? Going to Marseilles? Discovering the spy in the prison? The commission to kill the bosses in Paris?
13.Ryan and his cancer, the chemotherapy, his child, his wife? Ryan and the visit, Cesar muscling in, the pressure on the plan, the unreliability of Ryan’s men? The decision for Malik and Ryan to do it on his day leave, the plan, following the criminals, their picking up an envelope, driving away, the plan going awry, parking, Malik shooting? His being deafened by the bullets? His return, his being late, put in solitary?
14.The mayhem with the massacre in the prison – and Malik running laps in the solitary and being protected?
15.Cesar, his calling Malik over, Malik staying with the Arabs, the Arabs punching Cesar and humiliating him?
16.Malik getting out, Ryan dying, the wife and the child meeting him, the cars following him – to what purpose?
17.The change of a simple man to a Machiavellian boss? A safe future for him, profitable or not?
