Coup de torchon

I saw this as part of a Jim Thompson quest.

The film opens with a solar eclipse, a mythic way perhaps of foreshadowing the eclipse of humanity and values that follows. The West African setting is only proper in that aspect, like the setting of the Jim Thompson book, it's a doomed dusty limbo blotted out of the map where, in the absence of palpable law or ethos, humans are allowed to be the lowest they can be. Elsewhere the world is perhaps striving to maintain a moral appearance, but not so in Bourkassa, no one is looking there. Thompson had a dark view of humanity, for his own reasons, and for his protagonists, his crazed sheriffs and murderous sociopaths, he seems to reserve a last word that justifies their existence.

It's a really funny film, as a comedy it works marvels, and I like how Tavernier shifts the tone light to dark, goofy to perverse.

But what about Codier, the policeman of the small African town at the edge of the desert? Another reviewer reads in him a deranged figure of destiny that smites down people who deserve it, a vengeful Jesus placed on this earth not to save souls but to release them. But, even though his folly is obvious, the lack of retribution for his acts, the lack of a destiny to smite him, is it omission or statement? In an amoral universe that defies order, Codier is perhaps trying to maintain a perverse moral ground, or he's only serving his own bastard self, pushing his luck to see how far it will get him. If the film was a thriller it might have not worked, but I saw an absurd comedy foremost, and the laughter of that amoral universe is also echoed in Codier himself.

When he goes on on his little soliloquis on existence, Tavernier reaches for a solemn tone that seems strange at first, but at least we can understand that this murderous buffoon is no better than anyone else around him. He's likable because he suffers indignity with the nonchalance of a Mr. Hulot, but the next day he'll wake up a coward killer and scumbag. This contrast and his own belief in the incorrigible of his actions makes the movie work.

Perhaps he's so successful at being a scumbag, because the rest of the world permits it. If everyone else around him is either a moron or a scumbag, why should he strive to be any better? As a human being he's pathetic, but as a movie character I find him fascinating to watch. The fatalism that everyone gets what he deserves and there's no escaping the cogs of fate is the icing here.

After reading some of the reviews on here, I felt compelled to write one myself simply because it seems most of the people who reviewed this film did not read the book it was based on (POP 1280 by Jim Thompson). Some found it astonishing that one would actually seek out this book in the first place (including the director), but I happen to be a Jim Thompson junkie and I would say POP 1280 stands as his best work in the "psycho-lawman" sub-genre that he single-handedly created. It's far superior to the Killer Inside Me although many would disagree with that. Long ago, when I found out there was an actual film based on this book, I had to find it and see it. Luckily it was at my local blockbuster, and I rushed home to view this take on one of my favorite Thompson books. I have to say, it was a bit off-putting to see the whole story transposed to Senegal. However, as the film played, I realized that this was actually quite a brilliant move by Bernard. Aside from the location and French actors, everything else is mostly retained from the book in terms of the dark humor and over-the-top situations. The acting is superb and the cinematography is just gritty enough to give it the feel it needs. This is one of the best Thompson adaptations and I highly recommend it, especially if you have read the novel. I also recommend seeking out Serie_Noire which is the French adaptation of A Hell of A Woman. It's not as good as this one, but it's still excellent.

There is something repulsive in this noirish tale of amoral behavior and violence among French colonists in an African country in the late 1930s. Doltish Lucien is a sheriff who is (sometimes literally) kicked around by the people in his life - until he somewhat randomly decides to start offing those who impede his progress. And why does he walk around looking more like a tourist than an officer of the law? His murderous behavior becomes increasingly horrifying, until the story surprisingly turns somewhat philosophical towards the end. There are some fine performances and location filming. This is no classic, but it is worth a look. Based on a Jim Thompson novel.

To say that novelist Jim Thompson has been badly served by American directors would be something of an understatment as the only worthwhile version to emerge from Hollywoodland, 'The Grifters', is directed by Englishman Stephen Frears. Apart from that, one has to look to France for the two adaptations that capture Thompson's spirit and do him justice, namely 'Série Noire' of Alain Corneau, based upon 'A hell of a Woman' and 'Coup de Torchon', adapted by director Betrand Tavernier and legendary screenwriter Jean Aurenche from 'Pop 1280' with the setting transposed from Texas to Senegal.

The change of location to French West Africa is inspired as it suits perfectly Thompson's bleak view of the human condition with its lazy, morally vacuous, corrupt colonial officials and assorted low lifes. The linchpin of the film is the transformation of complacent police chief Cordelier from buffoon to judge, jury and executioner. He is so cleverly played by Tavernier's favourite actor, the superlative Philippe Noiret, that one can neither condone nor condemn him nor dismiss him as a lunatic. Audiences through the years have shown their admiration for vigilantes but for this viewer at any rate, any regard for Cordelier's actions are soon diminished.

Noiret's superb performance is complemented by those of Isabelle 'super' Huppert as his horny-as-hell mistress, Stéphane Audran as his unfaithful wife, Guy Marchand as his bigoted superior and the always good value Jean Pierre Marielle again showing his versatility by playing two brothers. Irene Skobline plays the schoolteacher whose comparative innocence attracts Cordelier and it is a great pity that her film career did not progress any further.

The cruelty and cynicism of the piece is balanced by the visual elegance one has come to expect from this director, whilst the production design is by Alexandre Trauner and the sun-drenched cinematography by Pierre William Glenn who also shot the aforementioned 'Série Noire'. Although the steadicam has been over used in recent years it is here extremely effective.

Throughout the 1970's Tavernier had come to be regarded as a 'humanist' director so this came as something of a surprise. It proved a commercial but not a critical success. It is an ambiguous, unsettling, fascinating film and now that nations have been forced to come to terms with their colonial past, it is more relevant than ever.

Bertrand Tavernier has taken the novel "TOP 1280" by Jim Thompson set in North Carolina and produced a riveting French film noir set in Senegal in 1938. At that time it was a French colony that exhibited similar social and racial patterns as in the American South. The use of color and humor add a new dimension to the genre. Tavernier in his comments about the film on the DVD talks about the change in the light in the late afternoon in west Africa. It becomes less intense so he uses pastel colors. Note the light blue walls and the pink shirt of Philippe Noiret who is superb as the village policeman Cordier. Isabelle Huppert who plays the mistress of Cordier with intensity and humor and the other actors make this a must see film. There is much humor in the film but be aware that there are many violent scenes. This is French film noir at it's best.