Three films in 16 years. After [i]The Blazing Inferno (1991[/i]), [i]Bullfighters (2000)[/i], [b]Eric Barbier[/b] delivers his new film adapted of the English author worship Ted Lewis. Plender (original title) is the second novel of Lewis to being carried to the screen. Jack' S return home had already known three adaptations of which the most succeeded, left in 1971, remains the law of the medium with Michael Caine, the history of a shady which comes to avenge death for his/her brother. In [b]The Snake[/b], the topic of revenge is again in the middle of the account. But Barbier firmly adapts the treatment of it while passing from the original point of view of the avenger with that of the victim.
Among the few French thrillers of these last years, [b]The Snake[/b] illustrates itself by a solid scenaristic construction and a neat esthetics. Barbier has the direction of the framework and its setting in scene gains there in width. Just like its appropriation of the space, remarkable, which exploits the possibilities of each place with intelligence. The faces under tension profit from a lighting worked with dark and worrying colours. Just like the decorations, which avoid the elements judiciously being able to point out a certain reality in order to plunge us in the middle of this thriller.
However, [b]The Snake[/b] remains fascinating thanks to interpretations of Yvan Attal, always impeccable, and of Clovis Cornillac, flippant in psychopathe avenger. The second roles are not remains about it with Pierre Richard (without the beard) very just as a lawyer handled, and Simon Abkarian, definitely intense in its second current roles after Casino Royal. Thus, even if the snake does not reach the film reference row, there remains a neat and ambitious thriller in the current French cinema. To note, a very intelligent end, fascinating with the final opposite course traditional one to the Hollywood thriller. The epilogue in particular, pessimist and enough rare to deserve to be underlined. A radical but pleasant point of view after tens of stereotyped ends of which each one was victim.
[i]Legal Thomas[/i]
