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And Taghmaoui is ebullient, likeable and less bitter than his friends – Saïd is winningly naïeve, and the shot of his horrified face as the film draws to its shocking – if inevitable – end has a sledgehammer’s impact. He recognises that he’s going nowhere – in one scene with his mother, he expresses his desire to simply “get out” – but both he and the viewer no there’s no escape for him. Although Hubert is a boxer, he’s actually the most mature of the three.
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That’s not to say any of the characters are weak – Koundé is marvellous dignified, mature and yet quietly furious.
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It’s a tour-de-force of a performance by Cassel, and it’s Vinz who lingers in the memory after the film has ended. Vinz, in particular, is practically boiling over with hatred, determined to kill a cop if his friend dies in hospital. They’re likeable, cheeky, funny, and yet angry. They have no jobs, no money, no prospects, no serious hopes of independence, few ways to amuse themselves except by loitering. It’s easy to argue that the film is just as aimless as it’s characters, but this apparent absence of plot is undercut by it’s genuine honesty – these characters really have nothing to do. They are three aimless young men – not really criminals, not really violent, but almost trained to respond in the way the police expect. There is a trio of three major characters: Vinz – poor and Jewish Saïd (Saïd Taghmaoui) – poor and North African and Hubert (Hubert Koundé) – poor and black. During these riots, a police officer has lost his gun, and it’s fallen into the hands of Vinz (Vincent Cassel) – a friend of the hospitalised boy. There’s ostensibly a story the inhabitants of the banlieue districts outside Paris have rioted after a boy has been hospitalised whilst in police custody. It’s also an essentially plotless film, which is by no means a complaint. It’s provocative, harrowing, funny and hideously prescient. Review: La Haine was made over 20 years ago, and it feels like it could have come out last week.