Inimigo Público nº 1

It is a good movie based on French gangster cum Robin hood ( a kind of) Jacques Mesrine, who was also called of Public Enemy No. 1 and man of a thousand faces then. The story tells you that how a common man turns into notorious goon and then as a infamous gangster. Circumstances made him to be a thief, robber, kidnapper and killer. Scenes like between Jacques and his parents, with his wife and kids are emotional and make you to feel sympathy to him surely. Torture in prison also made him stone hearted. But he has a brave heart also to his women and one thing that he did not ever kill anyone without it was not much necessarily. Even a real tale movie will not bore you and you will definitely be waiting for second part. As me it is must watchable saga of a gangster. Coincidently I just watch 'Sacred Games' , an Indian web series which is similar to such subject. But it is too behind from such good movie, no comparison can be done when two are totally different quality. Both have implicit scenes but here you will not feel vulgarity whereas in Sacred Games you find yourself in a intentionally made uncomfortable situation. Any way I suggest this movie to thriller lovers especially who likes criminals biography. Well played roll.

"Mesrine Part 1: Killer Instinct" is a Biography - Crime movie in which we follow the life of french gangster Jacques Mesrine, his crimes and all his actions until he becomes the number 1 public enemy.

I have to admit that before watching this movie I was not sure what I was going to watch since I had not watched the trailer of it and I had just read one article about this gangster. I was happily surprised by it since it is a very interesting movie, with a well written script and many action scenes. The direction which was made by Jean-François Richet was simply amazing and I liked the way he presented Jacques Mesrine and he combined very well his family moments with his actions and also his love affairs. Regarding the interpretations of this movie, I believe that Vincent Cassel who played as Jacques Mesrine made one of his best performances and he was simply exceptional. I highly recommend everyone to watch this movie because I am sure that even if you are not a fan of crime movies you will like it. If you like crime movies then this is the movie for you.

Jacques Mesrine (1936 - 1979) was a well-known French criminal, getting himself a name for robbing banks and a number of murders. After having received a huge ransom for kidnapping a French millionaire in 1979, French authorities declared him 'Public Enemy Number One'. They increased their efforts to track Mesrine down, and executed him without a trial shortly afterwards. While imprisoned earlier on, Mesrine wrote his autobiography.

'Public Enemy Number One - Part 1' reflects the first part of this criminal's adult life. Starting in the late fifties in Algeria, where French soldier Jacques Mesrine served in the foul war of independence, we get a clear picture of his development as a master-criminal.

Although I think it difficult to judge the historical precision of its plot, this very French film surely makes a good watch. Male lead Vincent Cassel acts a convincing Jacques Mesrine, and the many supporting roles shine with equal quality. The parts 1 and 2 of 'Public enemy Number One' provide a real blockbuster that sticks to the mind.

For the fans of Ludivine Sagnier. She isn't in this Part 1, but will appear in Part 2.

How do you recover from an American project that was received with mixed reactions to say the least (that would be the Assault on Precinct 13 remake)? Easy: go back to your home country (in this case France) and devote time to your real passion project, the one that can give you bona fide director credentials. That's exactly what Jean-François Richet did with Death Instinct, the remarkable first part in a two-movie story about famous French criminal Jacques Mesrine.

Like most other biopics, the film opens with the protagonist's death, and what a spectacular demise that is: gunned down by unidentified shooters in the middle of a crowded Parisian street. The story then flashes back to the early '60s, when Jacques (Vincent Cassel) returns home after a harrowing tour of duty in Algeria. Looking for work, he learns an old friend of his earns money on the side by carrying out certain "assignments" for a heavyweight (pun not intended) criminal known as Guido (Gérard Depardieu). At first, it's all fun and games, exotic holidays and beautiful women. Then, once Jacques gets married, his wife isn't quite happy with his lifestyle. The thing ends badly, and Mesrine continues his illegal career, toughening up after Guido is brutally murdered. Thus begins his successful series of bank robberies and scams that quickly lead him to becoming the most wanted man in France and prompt his brief stay in Canada. Even there, however, he just can's stay away from trouble.

Richet is certainly no Michael Mann (an obvious reference when it comes to the robbery scenes), but he tells the story with gusto and precision, staging the tale as if it were a traditional gangster movie: taste of power, discovery of the unpleasant consequences, fight until the end to reach the top. He deals with an impressive amount of material (and this is just Part One) and handles it so that even the merely explicative bits feel tense and exciting. From start to finish, Killer Instinct moves at a reasonably quick pace, asking the viewer for commitment and endurance, and deservedly so: it's one hell of a thrilling ride.

If one has to complain, it should be noted that the psychology of certain characters is a bit sketchy (Guido is really nothing more than the average gangster type), but that flaw is generally compensated by very solid acting. The most effective (and terrifying turn) is of course the one coming from Cassel, who was everyone's first and only choice for the leading role, according to cast and crew statements. Returning to the more troubled side that has been left pretty much unexplored since La Haine, he digs into Mesrine's dark psyche and re-emerges with a complex, chilling part that makes him deserving of the his widespread reputation as one of France's best young thespians.

As for the deliberately open ending, the final captions are clever but a bit smug: after revealing the fate of characters who won't return in the follow-up, the title card says "As for Jacques Mesrine... End of the first part". As if we didn't know that already.

*REVIEW OF BOTH PARTS*

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.