Film Review: Vidocq (2001)
If a single person that should be credited for creation of modern crime genre, the most likely candidate is Eugène François Vidocq, early 19th Century French detective known as the founder of modern criminology. His colourful life, that involved switching career of hardened criminal into the police prefect of Paris and use of innovative crime fighting methods, as well as later founding of first private detective agency, has inspired many great authors like Edgar Allan Poe and Arthur Conan Doyle. Vidocq also inspired many French film makers who covered his life and career on big and small screen. One of the more unusual among such works was Vidocq, 2001 fantasy thriller directed by Pitof.
The plot takes place in 1830 Paris. People are restless and begin to build barricades, preparing for the armed showdown with reactionary regime of King Charles X. Those events coincide with the newspaper headlines about the death of famous detective Vidocq (played by Gerard Depardieu) who perished fighting the masked killer known as the Alchemist. Journalist Etienne Boisset (played by Guillaume Canet) wants to write Vidocq’s biography and interviews his friends, colleagues, acquaintances and mistress. Through their stories he gradually reconstructs events that led to detective’s death, namely the investigation of three bizarre murders. Two of the victims were arms manufacturers, and Vidocq was hired to investigate by the government, but it quickly turns that the murders weren’t politically motivated. Victims were actually involved in bizarre occult rituals intended to give them eternal youth and, apparently, brought on themselves evil forces that aren’t from this world.
Vidocq represented first major French film production which was entirely shot with digital cameras. Director Jean-Christophe “Pitof” Comar has begun his career as photographer and gradually worked his way into films, specialising in visual effects and becoming collaborator of famous director Jean-Pierre Jeunet. His feature directorial debut is quite impressive visually, with 19th Century Paris being reconstructed with the help in CGI and made to look like the city depicted in period paintings. This, however, isn’t enough to compensate for film’s numerous flaws. The biggest problem is the script that tries a little bit too hard to look like Brotherhood of the Wolf and add “cool” Matrix-like style to what should have been more conventional period piece. Pitof insists on editing so rapid that viewers that don’t have superb reflexes would often be at odds to understand what is actually happening on the screen. And even those viewers who understand the plot are likely to be disappointed with the way one such fascinating character like Vidocq became wasted in cheap pseudo-occult plot. Cartoonish characters and unlikeable characters won’t bring attentions of the viewers and Depardieu looks like he accepted the role only because it didn’t require much time in front of cameras. Historical background of July Revolution is also wasted and only adds disappointment to those viewers who were interested in period piece. Vidocq might be appreciated only by viewers who prefer style over substance, but even they would have to lower their criteria more than usual.
RATING: 3/10 (+)
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