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France, Canada
Crime, Drama, Thriller, Action, Biography
IMDB rating:
Jean-François Richet


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Vincent Cassel as Jacques Mesrine
Ludivine Sagnier as Sylvie Jeanjacquot
Mathieu Amalric as François Besse
Gérard Lanvin as Charly Bauer
Samuel Le Bihan as Michel Ardouin
Olivier Gourmet as Le commissaire Broussard
Michel Duchaussoy as Le père de Jacques Mesrine
Myriam Boyer as La mère de Jacques Mesrine
Anne Consigny as L'avocate de Jacques Mesrine
Georges Wilson as Henri Lelièvre
Alain Fromager as Jacques Dallier - journaliste pour Minute
Alain Doutey as Le président du tribunal à Compiègne
Laure Marsac as La journaliste interview
Arsène Mosca as Jojo - un policier
Christophe Vandevelde as Inspecteur Gégé
Luc Thuillier as Le commissaire OCRB / Lucien Aimé-Blanc
Mesrine Part 2: Public Enemy #1 Storyline: The story of Jacques Mesrine, France's public enemy No. 1 during the 1970s. After nearly two decades of legendary criminal feats - from multiple bank robberies and to prison breaks.
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Great History of a Criminal
Mesrine is a great movie about the life of a criminal, Mesrine, who's perfectly interpreted by Vincent Cassel, with his first steps as a simple bank robber to move gradually to a more sophisticated criminal. Thanks to Cassel the personality of the character comes out quite strongly, showing his violence, his ambition and also his great passion for women. Since he's chased by a rival gang he's forced to go to Canada to start a new life. He finds a new girlfriend (Cecile De France) with whom he commits some bank robberies and for which goes to jail. However he manages to escape and go back to France where he finds the situation changed. Probably it won't become a cult movie as big as some other legendary gangster movies like Scarface or The Godfather, but it will surely occupy an important position in its genre.
Public enemy No. 1
Not having seen the first installment about the life of French criminal Jacques Mesrine, perhaps we are at a disadvantage. But recently, we caught the second part of the story in DVD format. The life and times of the man that was so resourceful in escaping captivity, gets a fabulous treatment at the hands of director Jean-Francois Trichet. The whole project owes a lot to the amazing performance by Vincent Cassel, not one of our favorite actors, but one has to recognize he made the whole picture enjoyable.

Of course, we never even heard about the real Mesrine, but his life, the way it comes out in Abdel Raoul Dafri and the director's screen treatment is the stuff that made folk legends, much like the American gangsters in the period of the Great Depression. Unfortunately, not seeing the first part, there are things that are hard to comprehend by just watching the conclusion of the story, which is told documentary style.

Vincent Cassel's take on Jacques Mesrine is what makes the viewer stay riveted to what is happening on the screen. Mr. Cassel has had his share of playing creeps before, but as Mesrines, he gives the performance of a lifetime. Mathieu Amalric appears as Francois Besse, the partner of Jacques' most daring escape from prison. Ludivigne Saigneur is seen as Silvia. Georges Wilson has a small pivotal role as the rich man Henri Lelievre, kidnapped by the two partners. Others in the large cast are the wonderful, but totally unrecognizable Oliver Gourmet, Gerard Lanvin, and Samuel Le Bihan in secondary roles.

A lot of credit must be given to the amazing Robert Ganz cinematography and the careful editing by Bill Pankow and Herve Schneid. The music by Marco Beltrami and Marcus Trumpp adds a layer to the texture of the movie. One can understand the difficulty in making the film look real if one considers this is a story that happened more than thirty years ago. A lot of credit must go to the creator Jean-Francois Trichet for his achievement in recreating the story of a criminal that shook France during the time when he terrorized the country.
"The Legend"/"Public Enemy No. 1": the self-destructive exploitation of the image
Part 2 is more episodic than Part 1, but it has several unifying elements: the relationships with a notable accomplice, the quiet, secretive, but equally bold Francois Besse (Matthieu Amalric); with his last and perhaps most romantic girlfriend, Sylvie Jeanjacquot (Ludivine Sagier); and, after a special "anti-Mesrine cell" has been created just to track him down, with the police manhunt that ends his life. Their code name for him is simply "le grand," the Big One. Above all the film now has an overriding focus on Mesrine's growing public identity, which he consciously shapes. This grows out of the energetic theatricality of Vincent Cassel's performance. There are various scenes of Mesrine "performing" in a police station (where Part Two begins); for journalists of high-circulation weeklies; in court; robbing banks; and for the world at large. If there was once a discernible difference between his public and private life, it has disappeared now that he's assumed arch-gangster status. Cassel literally takes on volume, having put on 45 pounds for this part of the role. His character is solid, confident, and aware of his public image at all times, and with his inflated self-importance, he redefines himself as some kind of savior of the common man from the tyranny of the banks and the bourgeoisie. Various more sophisticated thinkers try to explain to him that the banks aren't the problem, and that robbing them doesn't alter the system and perhaps reinforces its importance.

As Part 2 begins, the now notorious gangster has made his way back to France. Spectacularly, Mesrine and another accomplice escape by holding up a Compiègne courtroom where he's about to be put on trial, taking the judge hostage on the way out. This segment is told in flashback: the gangster is telling his story to the cops after getting caught. He is subsequently furious to learn that the dictator Pinochet has seized page one of the newspapers by being apprehended, and pushed him out. He immediately demands a typewriter and begins to write his first autobiography, L'Instinct de mort (Death Instinct) to gain more attention.

But we also see Mesrine concealing his now more prominent public identity by assuming a series of disguises. He dresses up as a doctor to visit his dying father in a hospital and say goodbye. ("Why are you here?" his dad asks. "Well," answers Jacky, "all the banks were closed. . .") He not only gives Paris Match an important interview, but (in a sequence of excessive violence) tracks down, tortures and murders right-wing journalist Jacques Dallier (Alain Fromager), who enraged Mesrine by having written a piece for the journal Minute calling him a "dishonorable crook" and claiming he has "betrayed" his associates. And we see Mesrine operating through the medium of his attorney (Anne Consigny, of The Diving Bell and the Butterfly and A Christmas Tale), who risks her career by helping him get pistols for yet another of his escapes--one that includes fording a river and passing a police roadblock in a farmer's Peugeot.

This time, he escapes with the reserved, suspicious François Besse (Matthieu Amalric), who, like him, has already escaped from prisons three times before and is treated as a celebrity by prison guards. Besse is a sharp contrast to the flamboyant Mesrine and thinks him foolish and mad, though like everyone else, he respects his courage and audacity. The two men rob the Deauville gambling casino's coffers, posing as inspectors to get in. But before that at Mesrine's instigation they pose as Paris cops checking on the local police headquarter's duty roster, to find out when the station is least well-manned. Besse is uneasy about such bold maneuvers, but even more, questions Mesrine's talking to 'Paris-Match' and claiming he's a revolutionary. But it's the late Seventies, the time of the Aldo Moro kidnapping in Rome.

After hearing about the Red Brigades and the Badder Meinhof, Mesrine tells Besse he wants to attack maximum security prisons, in the same way that he went back and attacked the Guantanamo-like Special Corrections Unit in Quebec. The film tells us the SCU's malpractices were ended as a result of Mesrine's exposure of them after his escape. Meanwhile, he persuades Besse to help him kidnap Henri Lelièvre (Georges Wilson), a millionaire Paris slumlord, for ransom, telling the slumlord he represents the PLO. This is another exploit that doesn't go as planned, but leads to a bold escape.

For a while Mesrine connects with Charles Bauer (Gérard Lanvin), an out-and-out radical, and it's with him that he traps and snuffs the right-wing journalist. Bauer in particular debunks Mesrine's claims of being a revolutionary.

The two-film diptych is bookended with the final police shootout in Paris traffic at the Place de Clignancourt that kills Mesrine with Sylvie Jeanjacquot and her little dog at his side, after he has used the slumlord's money to buy her a lot of diamond jewelry and himself a luxury model brown BMW. This is a convention of the genre--the bookending with a final showdown--but the way it's expanded in the finale of Part Two shows both films' fine sense of detail. Olivier Gourmet, among so many others, excels as Commissioner Broussard, head of the anti-Mesrine unit whose operatives are so terrified when the short, now overweight Mesrine walks by where they're hiding.

'L'ennemi public nº 1' had a November 19, 2008 theatrical release in France. It is part of the Rendez-Vous with French Cinema at Lincoln Center, March 2009.
Two Great Films
'Mesrine: Killer Instinct' (2008) and 'Mesrine: Public Enemy No. 1' (2008) are two great films filmed back-to-back telling the life and crimes of legendary French criminal Jacques Mesrine. I'd never heard of him before these films came out but it seems he was a bit of a cult figure during the 60's and 70's, mainly due to his outrageous bank robberies and prison breaks.

'Mesrine: Killer Instinct' (2008) The first film shows his rise (descent?) into the criminal world and is the better of the two. Vincent Cassel is brilliant in the title role and Gérard Depardieu was also surprisingly good as a gangster boss. It all looks and feels authentic. The only criticism is that it occasionally feels a bit rushed as it jumps from location to location and exploit to exploit. Although this made sections a bit episodic it means the film is fast paced and always exciting/entertaining.

'Mesrine: Public Enemy No. 1' (2008) The second film follows on from the first but as with any crime biopic (Blow, Goodfellas etc) the second half of the story is slower and not as much fun, as Mesrine suffers the consequences of his actions including estranged family members, more prison and ultimately his death. However the second film is still good, especially the final scenes which tie in brilliantly with the opening scenes of the first film.

Overall a great double bill – especially when you consider I watched them both back-to-back and was never bored or restless (even at a total time of over 3hrs 40mins).
Vincent Cassel Masterclass
I think it's common knowledge how the film ends, but I won't divulge for those that don't know. Public Enemy No. 1 is far more action packed and seems far more 'Hollywood' than the comparatively quieter 'Killer Instinct' - unsurprising though, considering it's the business end of the Mesrine story.

Cassel is the driving force behind the whole film, without him it would have been an average to good film - with him it's good to great.

I don't know where everyone stands as far as the real life Mesrine goes - hero or villain. I certainly put myself in the villain camp, and so does Cassel and it shows.

From the offset we see that all though Mesrine can speak passionately, lucidly and 'rabble rousingly' it is always characterised by an impenetrably brash and brazen arrogance which is NEVER counterbalanced with any vulnerability to make the character more endearing. Jacques Mesrine's inherent evil is often masked by a jocular bravado and his monologues justifying his way of life are mesmerising - but you're never convinced enough to actually like him. Therein lies Cassel's greatest achievement in the film - to create a character for which all you can feel is antipathy but nevertheless to find him intriguing enough to carry on watching.

Certainly, he does afford us some light touches. I smiled as he boasted at the beginning of the film of being Public Enemy Number 1; his face being Gallic nonchalance personified, as well as the scene of him and his accomplice Francois Besse (played by Mathieu Almaric) trying to cross a river.

Besse provides a solid sidekick for Mesrine to flourish, telling Mesrine that they are not 'luminaries' soon after Mesrine's interview where he tries to elevate himself to hero status with the most simplistic of demagogic arguments: "I don't like laws and I don't want to be a slave to those laws in perpetuity" (to paraphrase).

I do have some small criticisms, such as Anne Consigny's (who incidentally appeared with Almaric in 'Wild Grass', 'A Christmas Tale' and 'The Diving Bell and the Butterfly') unconvincing role as Mesrine's corrupt solicitor. Her face seems just too honest.

That petty criticism aside I'd give the film 7.5/10, giving the benefit of the doubt it's an IMDb 8.
Lands successfully between crime thriller, gangster saga and character study

There is a short paragraph that opens both "Mesrine" films; the exact wording escapes me, but it says something like "no film can accurately portray the complexities of a human life". This seems to be a pre-emptive defense, as if Richet anticipates criticism for a lack of depth or some glaring omissions. After all, Jacques Mesrine is apparently still a famous name in France, and his public persona lives on. If even half his supposed exploits were true, the story would still be crying out for a definitive dramatisation. As such, Richet has wisely avoided making any real ethical judgements of Mesrine's character, focusing instead on the sex, violence and publicity that he thrived upon. But it's Vincent Cassel's committed and exuberant performance that develops this meat-and-potatoes content into an unbiased character study of excess and, over all, a very fine pair of movies.

"Mesrine" may not seem to be particularly even-handed at first because of the glamour, the wisecracks, and the endless charisma, all of which are drawn from the rich stylistic tradition of the Gangster Movie, and used very skilfully in its favour. The fast pace of the story ensures we are either seduced or repulsed by the central character, and rarely anywhere in between. Sympathy or pity is irrelevant, and he is too brutal and trigger-happy to be rooted for as a regular protagonist. The first film is the slicker of the two, and the more visually satisfying due to the wonderfully stylish recreation of early 60s Paris (and elsewhere). Cassel plays Mesrine with youthful vigour here. He's all style and brash confidence, as endearing a wiseguy as any of Scorcese's characters. It's "Goodfellas", in fact, that "Killer Instinct" is most reminiscent of, with its sharp-suited mobsters (including a brilliantly grizzled Gerard Depardieu) and episodic year-hopping narrative.

By the half-way point, Mesrine is still something of an enigma. It's only in "Public Enemy No. 1" that the pace slows down and we can see, through a few intimate and contemplative scenes, what he has sacrificed to live as a superlative criminal. "I wasn't much of a son, I'm not much of a father either." he says, while in disguise visiting his own ailing father in hospital. He gradually alienates his closest friends and accomplices by trying to maintain the outlandish public profile he cultivated, rambling pseudo-revolutionary politics to journalists and threatening to kill judges and destroy all maximum security prisons. The "Goodfellas" ensemble of the first part becomes the isolated, ego-driven "Scarface" of the second as Cassel skilfully matures his character into a man resigned to the fate he knows must be coming.

The over all impression left by "Mesrine" is that it manages to land successfully between crime thriller, gangster saga and character study. This is achieved by the virtue of a standout central performance, as well as Richet's shrewd application of an American film-making style to a very French story. It ought to go down among the top crime dramas of the decade, or at the very least raise the (already decent) international profile of its impressive leading man.
Cassel still dazzles as 'Mesrine: Public Enemy No. 1'
Once gain directed by Jean-François Richet, Mesrine: Public Enemy No.1 (Part 2) continues on from Mesrine: Killer Instinct (Part 1) the outlaw odyssey of Jacques Mesrine (Vincent Cassel), the legendary French gangster of the 1960s and 1970s who came to be known as French Public Enemy No. 1 and The Man of a Thousand Faces. Essentially, this film focuses on the latter half of Mesrine's life, based on Mesrine's memoirs. Whereas the first film focused on Mesrine's rise from the average joe to a big time criminal, this film shows the events after Mesrine has been declared Public Enemy No.1 in France, and then his eventual demise. (My review of Part 1 is here.) In this film, Mesrine appears to have gained some weight and seems to be balding. He is also at the height of his game and notoriety. He has been playing the media, which has been labeling him a "Robin Hood," of sorts. Meanwhile, he has been declared "Public Enemy No.1" in France. One can guess that things will start to go downhill for him. As indicated in the first film, Mesrine will eventually be gunned down.

The visuals are grittier this time around, more modern, and much of the action takes place in the city. As opposed to the deep reds and greens of the first film, the modern environment is more gray with contrasts. The first film felt more "old school" Hollywood. It is more modern here. We now see more sideburns.

My complaint for the first film was that it felt episodic and crammed together as we watched Mesrine going from one caper to the next across a span of many years, sometimes almost like a documentary. This time, the film takes place mostly in the 70's and a less condensed period of time. The pacing is noticeably more even. More importantly, we also get to see more aspects of Mesrine's personality, his thoughts, and there are occasional contemplative scenes. If the first film was more action-driven, this one feels more character-driven.

Vincent Cassel is terrific as usual playing Mesrine, and here, he is now the man people know him for, he is more comfortable in his skin, confident, and has more wisecracks to dish out. Proud of his growing notoriety and his ability to manipulate the media, Mesrine appears to be having a lot of fun here as well as Cassel playing him. Olivier Gourmet plays Le commissaire Broussard, who is leading a task force to apprehend Mesrine. Broussard and Mesrine appear to have a respectful mutual understanding of each other. Broussard appears relaxed and fairly controlled most of the time, and compared to the vast emotional range of Mesrine, Broussard can feel a bit two dimensional. Matthieu Amalric is terrific as the bulgy-eyed French criminal named François Besse, a master of prison-escapes, whom Mesrine befriends in prison. After helping Mesrine escape, Besse and Mesrine begin working together in their heists. Besse is essentially the opposite of Mesrine--he is efficient, intelligent, lacks showmanship, and takes his work more seriously. There's a revealing moment in the film where Mesrine argues with Besse about their end goals.

Mesrine has also gotten a new woman, Sylvia (Ludivine Sagnier), who becomes a bit of a Bonnie to his Clyde in his heists. There's a bit of familiar glamour and lightness to the film when they dress up and start spending the money away. Cue the happy music and the lady trying on expensive hats. As in the first film, these moments are contrasted with Mesrine's violent side. The darkest moment in the film is when Mesrine's partners up with the politically radical Charlie Bauer (Gerard Lanvin) and kidnaps and tortures a journalist who had written unflattering things about him. The scene is harsh and gritty.

Ultimately, the film's greatest asset is still Vincent Cassel's amazing performance and believability. The action scenes and the progression of events are solidly directed by Jean-François Richet. Admittedly, this film still feels rather episodic like the first film. But, it is deeper. A good, solid cap to the 2-part series.

*** 1/2 out of **** stars You can also follow my movie reviews on
Somewhat underwhelming, but an acceptable conclusion nonetheless
Filmed back-to-back and released a month apart, the two movies chronicling the violent, exciting life of French bank robber Jacques Mesrine were undoubtedly meant to be a high point in the careers of both director (Jean-François Richet) and star (Vincent Cassel). At least, that was the case with the first installment, Death Instinct; the follow-up, Public Enemy Number 1, isn't quite as accomplished.

It starts exactly like Part One, with the scene of Mesrine's death, only this time we're shown the reactions of the public as well, especially that of a police office named Broussard (Olivier Gourmet). We then go back in time to witness Mesrine's multiple criminal acts, arrests, trials and successful escapes. In fact, one could almost say he gets caught on purpose in order to plan a stunning break-out. During one of his lengthier stays in prison, he befriends another crook, Jean-François Besse (Mathieu Amalric, Bond's adversary in Quantum of Solace), and once the two are out of jail they form a nearly perfect team alongside Mesrine's new wife Sylvie (Ludivine Sagnier). Too bad good old Jacques has been declared the French nation's biggest menace, which effectively authorizes Broussard and his team to take him down if necessary.

The title, which is obviously taken from the real-life scenario but could just as well be a homage to William Wellman's celebrated gangster picture, would appear to indicate the film is tonally similar to Death Instinct. It isn't. Whereas the first part was a dark crime film, the conclusion is a lighter deal, a caper, so to say, in the same vein as Steven Soderbergh's Ocean's trilogy (in which, coincidentally, Cassel had a pretty important role). Perhaps it was a deliberate choice to make the second chapter more fun, an ironic contrast of sorts to the bleak ending, but as a result the picture comes off as less interesting from a psychological point of view. Amalric, in particular, while delivering a charismatic performance, isn't given a proper chance to develop his character like Cassel was able to in Death Instinct. As for the leading man himself, his work is still riveting, but even he suffers from the lighter mood and lack of focus (he's still the best reason to watch the movie, though).

Nonetheless, the film moves at an acceptable pace, showcasing good set-pieces and giving Richet the opportunity to switch genres within the same movie. It doesn't quite work as expected, but the mess he handles is still a lot of fun, even if not truly worthy of a figure as complex and fascinating as Jacques Mesrine. Well, at least he's always got the first installment to look back on fondly.

The Legend of Mesrine: A Bizarre Cult
MESRINE: PUBLIC ENEMY #1 is a sequel, or actually Part II of MESRINE: KILLER INSTINCT. It is important to note this fact because for the casual viewer who picks up this DVD first there will w a lot of background story missing. Apparently there is somewhat of a cult of Mesrine devotees, so powerful was his image as the most devious criminal of the 1960s -1970s in France. Or perhaps it is the media that makes criminals like Charles Manson, Bonnie and Clyde, John Gotti, Al Capone, John Dillinger etc etc 'heros' to the public. But if examining the lives of such beings entertains you then this film may register.

Apparently the first film in this biopic showed the development of Jacques Mesrine (Vincent Cassel) as he becomes a bank robber, kidnapper, jail breaker, etc, but this film starts with Mesrine in court form which he escapes and then proceeds to rob banks and kill people and eventually end up believing in his own grandeur as Public Enemy #1. The film was written by Abdel Raouf Dafri and director Jean-François Richet who obviously are more concerned with setting up ambushes and escapes and robberies than with character development. The is one well-written scene in the film - Mesrine sneaking into a hospital where his father (Michel Duchaussoy) is dying that is true drama, but the rest is rather uncontrolled raucous crime. Vincent Cassel is such a fine actor that he is able to bring to life this atrocious character (having not seen Part 1 leaves any advantage that film may have given to his character development and why this actor suddenly has a beer gut, etc). He is abetted by Ludivine Sagnier as his pickup girlfriend Sylvia, Mathieu Almaric (another very fine French actor) as his accomplice François Besse, Samuel Le Bihan, Gérard Lanvin, Olivier Gourmet, and Georges Wilson.

The film is overly long (133 minutes) to tolerate all action/no story, but one factor remains: Vincent Cassel's performance is intriguing, right up to his grisly death scene. Not for the faint of heart or for viewers who appreciate a script with a story.

Grady Harp
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