As someone who’s spent countless hours immersed in the world of French cinema, I must say that “Freedom” is a film that starts off promisingly, with its introspective take on a man’s purpose and passion. However, it falls short in delivering a truly impactful narrative, much like a gourmet meal that lacks the final seasoning to bring out its full flavor.
Instead of creating a dramatic, action-filled portrayal of French thief Bruno Sulak’s real-life criminal escapades during the late 1970s and early ’80s, director Mélanie Laurent opted for a more introspective, tragic romantic narrative focusing on a man’s purpose and passions. This decision proved wise, even if it wasn’t entirely original, given movies like “Heat,” “Thief,” and numerous others that explore similar themes. Though they manage to hit their emotional notes effectively and present intriguing connections among the characters, Laurent and co-writer Christophe Deslandes only slightly delve into the true events, offering just a glimpse into the minds of those involved, which significantly weakens the film’s impact.
Initially, we encounter the rebellious mastermind, Bruno (portrayed by Lucas Bravo, who bears a striking resemblance to a younger Gerard Butler), engaging in petty crimes such as robbing small-town supermarkets with his partner Annie (Léa Luce Busato) and a muscular accomplice named Drago (Steve Tientcheu). They’ve amassed millions, lived it up, and enjoyed their days in a grand French chateau, their carefree moments captured poetically, much like an advertisement for a high-end perfume – one with notes of boldness and playfulness. They justify their lawless actions as taking from the true thieves: banks and corporations that exploit their customers. Bruno’s polite demeanor, magnetic charm, and eyes as blue as the Mediterranean sea contribute significantly to the gang’s success, as he disarms victims during hold-ups with his courteousness.
However, the daring acts of the gang pique the interest of Detective George Moréas (Yvan Attal), who finds himself nearing the end of his days chasing petty criminals. His pursuit of Bruno becomes increasingly challenging due to the presence of additional members, Patrick (David Murgia) and Steve (Radivoje Bukvic), causing chaos, and a new scheme, robbing jewelry stores across France for substantial insurance claims. Meanwhile, as the pressure intensifies, Annie urges Bruno to settle down and start a family with her. He must now decide whether to abandon his source of endless pleasure and wealth or persist in the game he initiated with George.
To begin with, Laurent and Deslandes skillfully establish their characters, their desires, and simmering conflicts in a thoughtful manner. Essentially, they construct an intricate love triangle: Annie is smitten with the rogue Bruno; Bruno finds deep passion in his work, often merging leisure and labor; and George revels in the excitement of the pursuits Bruno instigates, as he frequently outmaneuvers George during nationwide chases due to his knack for evading capture. Furthermore, secondary characters such as Patrick, Drago, and Steve are each given memorable entrances, adding depth to Bruno’s contemporary group of outlaws reminiscent of Robin Hood.
It’s unexpected that the creators don’t fully explore the character arcs as skillfully in later acts as they do in the beginning. For instance, Patrick’s drug addiction issue is only briefly touched upon in one scene and then ignored for the rest of the film, not due to his expulsion from the team or recovery, but simply because it’s neglected by the filmmakers in act two. Despite their significant impact on Bruno’s life, the departures of Drago and Steve lack authentic emotion, although the actors give strong performances considering the limited material. The conflict between Bruno and George also falls short, lacking the intensity required and oversimplifying aspects (such as providing more detail about George’s relentless pursuit and Bruno’s evasive nature) that would have added depth to their struggles and triumphs.
Instead of allowing the profound impact of Annie and Drago’s girlfriend Marika’s heartfelt discussion to echo through the entire movie – a conversation between them about the resilience needed to be a gangster’s companion (portrayed by Léo Chalié) – the film prioritizes the conventional narrative of rise and fall. While Annie’s world is initially shaken by her romantic decisions, the events that unfold in between are almost entirely influenced by men. The one instance where Annie demonstrates agency occurs during a trip to Cannes, where she catches Bruno scoping out another job. However, her sudden doubts seem uncharacteristic and feel both implausible for the character and misleading to the audience.
Bravo, who’s only been able to hint at a dormant leading-man charisma with his supporting role on “Emily in Paris,” exercises his action anti-hero muscles with an impish allure. He teases out a playfulness within the character’s arrogance and a heart behind the hunkiness. Busato’s character is woefully underwritten and, therefore, the actress is frequently overshadowed by Bravo and Attal, who brings a snappy sense of wit and buoyancy to his bedraggled police chief. The men’s chemistry is solid, best exemplified by a watered-down tribute to the Pacino/De Niro restaurant scene in “Heat.”
Laurent swiftly avoids wasting any moments disorienting us with her female lead in the opening, using a counter-clockwise camera rotation to suggest her world spinning out of control. This spinning theme recurs later to link the lofty heights the bandits attain and their impending doom’s vertigo. However, it’s disheartening that a similar keen eye wasn’t used to create a fully developed female character, considering Laurent and Deslandes have previously given us groundbreaking, thoughtfully depicted heroines in films like “The Adopted” and “The Mad Woman’s Ball.” It seems as though the women in this story are themselves trapped, yearning for a liberty that these filmmakers seem hesitant to grant.
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2024-10-31 21:48