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Le Petit Lieutenant
 
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Le Petit Lieutenant


5.0 out of 5 stars  See all reviews (1 customer review)

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Review

Reminiscent of Bertrand Tavernier's L.627, Le Petit Lieutenant is a suitably gritty and engaging look at police work in present-day Paris. With strong performances, a grimy, muted palette, and an absorbingly detailed mise-en-scne, director Xavier Beauvois has come up with a memorable policier, ranging from the seemingly mundane details of stakeouts and canvassing witnesses to the dangerous thrill of being face-to-face with a killer. Beauvois never lets us forget that these people have lives that go beyond their work, and his numerous characters perform vibrantly enough that we believe their lives extend beyond the screen as well. Jalil Lespert is an immensely likable presence as the eponymous rookie detective, and both Roschdy Zem, as a veteran Moroccan detective who still faces some bigotry from his co-workers, and Nathalie Baye, as the female detective in charge of the unit, convey the sense that they are particularly proud of what they do because they've had to fight harder than most to achieve what they have. Through beautifully realized scenes of the cops hanging out in various groupings, we get a very genuine sense of their camaraderie and their character. Certainly, they are not all heroic in their everyday interactions. Baye's performance as an alcoholic who has never gotten over the death of her young son is subtly tinged with pain and regret, and a longing for a relief that she cannot allow herself. Le Petit Lieutenant is an exemplary genre piece, melding a down-and-dirty 1970s vibe with a very modern perspective on the globalized nature of contemporary Paris. ~ Josh Ralske, All Movie Guide

On the DVD

Original theatrical trailer
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5.0 out of 5 stars (1 customer review)
 
 
 
 
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5.0 out of 5 stars The Precinct, Nov 5 2006
By MICHAEL ACUNA (Southern California United States) - See all my reviews
(REAL NAME)   
This review is from: Le Petit Lieutenant (DVD)
Jane Tennyson (Helen Mirren in the PBS series, Prime Suspect) and Caroline Vaudieu (a thoughtful, sad, tragic Nathalie Baye in this film): the comparisons are inevitable. Both are Chief Inspectors in charge of an all man team of detectives, both have problematic personal lives and both suffer from alcoholism.
But whereas Tennyson is like a feral cat, ready to pounce, full of rage, Vaudieu, though equally as competent as Tennyson, is laid-back, thoughtful and able to lead a group of hardened, seen-it-all detectives with her keen sense of propriety, her innate humanity and well-honed ability of always doing the right thing professionally. Vaudieu leads by example; she never falters. On the surface Bayer's Vaudieu is in control but beneath that façade she is psychically falling apart: the sobriety she so desperately fought for is weakened every minute of every day by loneliness and thoughts of her recently deceased son.
On the day that she returns to work after a leave, a new recruit, the "petit lieutenant," Antoine Derouere (a naive and personable Jalil Lespert of Laurent Cantet's "Human Resources") arrives having just finished at the police academy. He is assigned to be part of Vaudieu's group.
In most films of this ilk, Vaudieu would eventually and naturally fall into bed with Derouere (his wife decides not to come with him to Paris from Normandy, so he is alone). But not so here: their relationship is refreshingly professional yet they grow to like and respect each other.
Director/Writer Xavier Beauvois directs with in an extremely understated manner: many scenes seem improvised and many of the actors are so natural that they seem like non-professionals. But Beauvois is after something else here than we usually find in a policier particularly if you compare "Le Petit Lieutenant" to the recent "Miami Vice" or even Michael Mann's "Heat." Beauvois's film is natural, organic, and almost documentary-like: the good guys are as flawed as the bad. The line between good and bad, love and hate is blurred, smudged as it is in Life.
In his quest for authenticity, Beauvois may give us too much detail: the checking and re-checking of facts and case leads, the repeated stake-outs, the interrogation of the same witnesses over and over. But this is a small gripe for what Beauvois has accomplished here is to raise the bar on police dramas. There are no exploding cars, hardly any car chases. The drama in "Le Petit Lieutenant" is the drama derived from lives well observed, of lives perpetually in danger and on the edge and the thoughtful and distinctive manner in which Beauvois cohesively manipulates these factors.
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