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Director
Jacques Audiard (2009)
When the shark
bites with his teeth, dear
Scarlet billows start to spread.
Fancy gloves, though, wears Macheath, dear
So there's not a trace of red.
A quaintly
lilting version of Brecht and Wiell’s Mack the Knife performed,
incongruously, by country singer Jimmie Dale Gilmore, plays over the
final scene of A Prophet. Malik El Djebena (Tahar Rahim), a young,
rootless Arab tearaway, is leaving prison after serving his sentence and
seems to be returning to normal life, complete with a ready-made wife
and kid provided by his best mate. But a mysterious black cortege
follows funereally, ominously, in his wake.
We meet Malik
six years earlier on his first day in jail. He is proud, sullen,
rebellious and naïve – if not entirely innocent. For his own
‘protection’ he is drawn into the Corsican gang which, in cahoots
with bent screws, runs the prison. His protection comes at an
overwhelming cost: he must murder a fellow muslim inmate.
Malik resists,
but it is futile. He practises hiding the razor blade he must use for a
murder weapon behind his teeth. He spits out the blood. You can feel his
pain.
His victim,
Reyeb (Hichem Yacoubi), turns out to be a decent educated chap and he
has a profound effect on the reluctant killer, but he is clumsily and
bloodily sent packing.
Having somehow
passed the test, Malik finds himself right hand henchman to gang leader
Cesar Luciani (Niels Arestrup), a kind of malicious, sadistic type of
the Noel Coward character in The Italian Job.
Throughout,
Malik insists that he works only for himself, and like all freelances
this means he works for anybody and everybody, straddling all the power
bases.
He’s a
survivor all right. But by the end of his brutal education he has become
something more, graduated into the natural, if not born, killer he so
agonisingly tried not to be. As he walks through the prison gates he
turns the world inside, out. He wears the gloves of the guilt-free,
ready to kill again, with not a trace of red.
January 2,
2010
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