In films of this genre it is Costa-Gavras who is rightly considered the master. However, Yves Boisset is certainly no slouch and has never shied away from pointing a finger at institutional corruption, hence the 'official' obstacles he has been obliged to face.
The 'disappearance' of Third World activist Mehdi Ben Barka in 1965 caused such a 'scandale public' that de Gaulle's government was forced to deny any involvement. Barka's son was convinced that vital documents were withheld 'for reasons of national security' that linked his father's kidnapping, torture and murder to the CIA and Mossad(possibly) French security forces(probably) and King Hassan 11 of Morocco(definitely) What is certain is that this appalling crime represented yet another example of Western Intelligence Services propping up monstrous dictatorships.
This material is dynamite of course and Boisset's film, despite its occasional weaknesses in construction, is thoroughly absorbing and succeeds in justifying its two hour length.
For this film to work one has to sympathise with the Barka character, here named Sadiel and played by the excellent Gian-Maria Volonté, certainly no stranger himself to political activism. Volonté invests Sadiel with intelligence, sensitivity and a total committment to his cause without being fanatical. Another sympathetic character is the Francois of Jean-Louis Trintignant who becomes in his own words 'the unwitting instrument' of Barka's gruesome fate. This actor can do no wrong in my book and impresses as a misguided intellectual. He had also excelled of course in 'Z' for Costa-Gavras.
The film is aided immeasurably by a line-up of consummate professionals relishing their sleazy characters, notably Michel Bouquet, Philippe Noiret and a chilling Michel Piccoli. The good guys are played by Bruno Cremer and Francois Périer whilst Roy Scheider's journalist only appears to be a goodie....... Jean Seberg has a crummy role as a well-intentioned leftie and it is cruelly ironic that this lovely actress was to pay the ultimate price for her outspoken views.
The script is aimed at a literate audience, Boisset's direction is taut, the cinematography by Ricardo Aronovich is wonderfully muted and Ennio Morricone's score is marvellously menacing. The only prize the film picked up was awarded by the Russians. Quelle surprise!
Whilst watching this piece I was again reminded of Jean Renoir's frightening observation: "Everyone has his reasons"!
