What is the difference of “The Wages of Fear” price on Netflix with Franck Gastambide and Alban Lenoir? | EUROtoday

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QWhat needs to be dealt with with the best care: a tube of nitroglycerin able to explode or the cinematic legacy of Wages of Fear ? Henri-Georges Clouzot's masterpiece, Palme d'or in 1953, a important and public success, had already spawned an illegitimate however chic offspring: Sorcerer, by William Friedkin, in 1977, a small miracle additionally handed all the way down to posterity on the opposite facet of the Atlantic. And now in 2024, Netflix has risked giving it a brand new offspring, French as well as, entrusting this new adaptation to Julien Leclercq (The Assaultcollection Robbers on Netflix).

He assumes his authorship each with the movie by Henri-Georges Clouzot and with Georges Arnaud, writer of the unique novel. Enough to lift an eyebrow, and even two, in circumspection, within the face of a mission which oozed trendy motion movie, flaws included, from each pore.

Four protagonists, two vans crammed with tubes of an unstable explosive, a number of hundred kilometers of winding roads, an oil properly fireplace to be extinguished in lower than 24 hours: the knowledgeable viewer will shortly discover his bearings. Exit, clearly, Yves Montand and Charles Vanel; right here, Franck Gastambide and Alban Lenoir are two brothers, two intrepid hotheads, lured for numerous causes by this perilous journey.

Invested actors

They are assisted of their journey by the activist of an NGO (Ana Girardot) and the henchman of the oil firm (Sofiane Zermani, higher identified by her stage and rapper title, Fianso), in a desert panorama , an ersatz Middle East suffering from chaos and terrorism. Come on, let's be a bit honest: what’s there to save lots of on this Wages of concern, new era ? No doubt the funding of the performers, who don’t skimp on virile demonstrations.

We won’t take away a sure pleasure from them by donating their physique and their physicality. But… that’s about all of the fulfilling factor the movie should provide. From the primary minutes, we perceive that the movie won’t even must be detestable, no; it is going to simply appear already has beenand subsequently, already forgettable.

Comparison has by no means been proper, but when we converse, 71 years later, of Salary of Clouzot as unsurpassable, it’s for a serious motive: his time administration. The time that expands, which distils in every smallest gesture the matrixial nervousness of the movie: a truck perpetually on the verge of exploding. As quickly as they closed the truck door, Clouzot's thugs had sealed a future that was already now not of their fingers, so fixed and protean was the risk.

Where is the risk?

At Julien Leclerq, there isn’t any query of taking a lot time. The story strikes ahead with out stopping, crossing and uncrossing plots and subplots, with out an assumed guideline and subsequently, with out main influence. The members of the workforce of Alban Lenoir and Franck Gastambide appear directed like puppets by an invisible hand, that of the screenplay, which obeys two simplistic guidelines for the protagonists: survive to advance the story and discover themselves in peril to shake the viewer.

In defiance, clearly, of a sure verisimilitude and a way of tragedy. And the movie shoots itself within the foot when it externalizes, for good, its essential risk. Attacked by desert fighters, threatened by anti-tank mines, the characters, and the digicam itself, appear to overlook their main stake a number of meters away: explosive tubes on the verge of explosion, which may, at these moments , would possibly as properly be bananas, as they appear so innocent.

Long gone are the times when the spectator, clinging to his seat, noticed the vans in Clouzot and Friedkin's movies venturing throughout unstable bridges, the place every plank appeared on the verge of cracking and carrying the protagonists into the abyss. Where his elders stood out for his or her visible or thematic mastery (Cluzot is as cynical and refined as William Friedkin's model is sticky and tortured), The Wages of Fear made in Julien Leclercq seems like some other trendy motion movie.

Clouzot in majesty

The motion movie is definitely not very widespread within the French cinematographic panorama. A brand new foray into this style absolutely deserved higher than this frenetic and useless slicing, which by no means offers the scenes the possibility to exist in themselves and exploit their potential. Did we actually must dig up Henri-Georges Clouzot for that? We won’t take away from Julien Leclerq a need to do properly, and his experience saves him, within the scenes of shootouts or chases, from full failure.

But in contrast to Henri-Georges Clouzot's movie, it conveys nothing, neither message, nor imaginative and prescient, nor social subject, nor ethical discourse. And as a result of issues are properly completed, Netflix presents the chic 1953 model in its catalog. Just to show as soon as once more that Clouzot can sleep peacefully.

On Netflix, since March 29.