This is probably the most famous quote in La Haine. La haine film les citations key quotes les quotes clefs french as level a level year 12 important aqa.
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Its easy to see why La Haine had such an explosive effect when it was released in France. La haine attire la haine Hatred breeds hatred Huberts character senses that an impending tragedy is about to hit them it is not by chance that it is he who quotes the proverb about the falling man the allegory that contains the gist of the films message.
#LA HAINE QUOTES FRENCH MOVIE#
La Haine 1995 By Mathieu Kassovitz Movie Lines Film Quotes Film Books These areas are stereotyped in the media as places of urban deprivation crime and drug use. The Webs Largest Resource for Famous Quotes Sayings. Whatever happens, one hopes he'll continue to wear his baseball cap the right way round.Cest lhistoire dune société qui tombe et qui au fur et à mesure de sa chute se répète sans cesse pour se rassurer juste quici tout va bien juste quici tout va bien juste quici tout va bien. Such acclaim has turned many lesser heads, but Kassovitz seems a fairly sensible sort (encouragingly, we read that he has declined a bid by the supermarket chain Monoprix to launch a line of street-cred Hate leisurewear). In the scene that most sharply illustrates this approach, the three youths are buttonholed by a Holocaust survivor he tells them a scatological, tragi-comic story about a prisoner caught out by the call of nature, of which the punchline and motto is that the kids, deprived as they are, have no cause for complaint while they can still empty their bowels in comparative peace.Ĭonsequent to Hate's success in France (it has yet to open in the US and most foreign markets), its director, who turned 28 in August, finds himself swiftly crowned the latest wonderboy of the new French cinema. The best Jewish jokes are very tough," says Kassovitz, whose grandmother is a death-camp survivor. People who have the greatest sense of fun are often those who haven't led a good life. "Just because you're laughing doesn't mean it's funny. Most of the humour is strictly of the gallows kind. The new film's other sweetener is its robust comic vision and salty dialogue, much of it in verlan (street slang), a subtitler's nightmare. He also appears briefly in Hate, as a fascist skinhead - mainly, he says, because he thought he might have problems persuading another actor to take a role in which he gets punched in the face and then shot and is seen only from the back. The obvious echoes there were of Lee's debut, She's Gotta Have It: like Lee in his own film, Kassovitz played one of the suitors, a bespectacled, bike-riding geek. "I like films that entertain you first and foremost - if afterwards you find you've learnt something, it's a bonus." "Just because I don't make films like that doesn't mean I don't enjoy them," he says, citing as influences the Marx Brothers, Monty Python and kung fu movies. From them, their son learnt a love of cinema and a hatred of injustice.īut he was also wearing a Jurassic Park T-shirt, which, he says, means hooray for Hollywood. And both were political activists: Kassovitz pere fought in the underground resistance in Nicaragua. His parents were film-makers: the director Peter Kassovitz and the film editor Chantal Remy. He is unapologetic about the fact that he has never lived on a council estate.
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But several qualities set Kassovitz's film apart from its lower-budget brothers: the bold and confident visual elan - which secured the film a place in competition at Cannes and earned it the prize for Best Direction - and also its ability to confront its audience with some hard truths while showing them a good time.Īt our interview Kassovitz sported a baseball cap with the peak turned forward, which, he says, means he's serious, and not a radical chic poseur. Hate was just one of a mini-wave of French movies all set on housing estates (others include Rai, Krim and L'Etat des Lieux) and all opening in Paris within the space of a few weeks. All the same, seven or eight local councils refused to allow the film crew on to their territory in these cases the film's title was a most definite turn-off, and the permits were secured by temporarily renaming the script the blander Droit de Cite and divesting it of its violent final scene.