A Prophet

This was one of the first French film I have ever watched. I decided to give it a go.

Initially I wasn't holding out much hope when I placed the DVD into my drive, I was wrong.

The film is a hard hitting which keeps you gripped and awaiting the clever plot, it doesn't not disappoint and the way in which the plot unfolds is clever as well as realistic. The actors do a very good job and the main actor is especially good, the white mob boss is also a superb actor.

The film is about an Arab who enters jail after a life of trouble. He soon becomes gripped into the underworld of gang violence, he then joins a white gang whilst carrying out jobs for them. Whilst he cleverly starts to build his own empire.

Go watch this film now, sometimes I don't watch films if I have not seen reviews or thousands of votes here on IMD. Trust me on this film, one of the best films I have seen in a long time and I am sure you will not be disappointed.

One of the biggest surprises of 2009, Jacques Audiard's 'Un Prophète' is the best French film in a decade, garnering strong critical and word-of-mouth support and winning the Grand Prix in Cannes (which for years now means that it's the actual festival winner). The surprise is that the story is far from being original: a young Arab sentenced to (adult) prison for the first time is forced by a Corsican mafia boss running the strings there to do his bidding. By and by, he manages to use his underling position to his own advantage. So it's a typical hard-boiled underdog story - what makes it so great then?

'Un Prophète' doesn't differ much in style from the French films of late, which were often so hell-bent on displaying life as a gritty and boring affair, and resorted to radical violence to underscore this point, that spectators were almost forced to feel disgusted, which was then claimed to be a denominator of the film's artistic success. This phenomenon has been called 'New French Extremity'. What Jacques Audiard has done is to combine the aesthetics of this trend with the traditions which once made the French film industry the most power- and meaningful in Europe, namely to focus on the relationship of the leading actors. The result is a film that is totally engaging from the first minute, because it entrusts the actors with the task of transforming the script into something of their own making.

And boy oh boy, Tahar Rahim does that job. A newcomer with a little bit of TV experience, his performance carries 'Un Prophète' with amazing vigor. It's a big chance, and he takes it. Would this be an English-language film, he'd be a surefire contender for the awards. His nemesis is portrayed by Niels Arestrup in an equally flawless, yet much more routinized way, which juxtaposes the two characters perfectly. Add to this the sophisticated editing already present in Audiard's last film 'De battre mon coeur s'est arreté' (2005), and you have the best European film of 2009, in spite of a story that you will most likely have seen dozens of times already.

If you usually don't like European movies, or if you have only time to see one a year, watch this one - you won't regret it.

At times hard to watch but in the end you come out with the feeling of having watched a masterpiece.

Perfect acting, scenario, directing, cinematography & sound...

This is definitely not a Hollywood production, but the best of what french cinema can be.

Audiard is a great director, having previously made "Read my lips" which i also recommend.

The main actor Tahar Rahim is a revelation, keep an eye on him in the future.

Niels Arestrup is also quite good in his role as a corsican crime boss

When I read that this movie has more nominations than any other film for the European Film Awards (even more than Slumdog Millionaire) I decided to go and see it. I don't regret this decision and I hope the movie wins all six awards it has been nominated for.

This movie, about a young hoodlum who in prison becomes a dangerous criminal, is in the same league as last years's Gomorra. It shows the life of criminals as it is: tough, merciless and unscrupulous. This film is miles away from the romantic image of maffia-style crime gangs we know from Hollywood. There is no honour here, no attachments, no loyalty. Only self-interest. The style of the film reflects the rawness of its subject. The photography is meant to show life in a prison, not to please our sense of aesthetics.

Why is this such a good film? Because of the radical approach to show us nothing but the raw underbelly of France, but also because of the story which has many aspects. Malik, the central character, has no true identity at all: he is not a religious Muslim (he eats pork), but he is neither French nor Corsican. The members of the Corsican clan to which he is being attached despise him because he is not one of them, and so do the religious Muslims ('les barbus'). Another interesting aspect is the development of the relationship between Malik en the Corsican capo Cesar, with a very powerful apotheosis. And there is the changing of Malik himself of course, who in the beginning of this film seems to be devoid of any emotion at all, but in the end is capable of warm feelings towards his godson and the wife of his terminally ill friend.

After having seen Un Prophète, I regret not having seen Jacques Audiards other films.

The storyline of this film is well documented by other reviewers. I read the reviews at 2.30 this afternoon and by 5 PM I was in the local cinema. I wondered if I could survive 150 minutes but I found myself at the end wishing to know more, and rather regretting the end of this fascinating movie. I am not an expert review writer but I found the character portrayals so realistic that they nearly jumped out of the screen. Yes there is violence, bloody in parts, but it is so monumentally well filmed I could look away from the gore and towards the film as a work of art. If there was a mixture of amateur and professional actors, I could not tell the difference.

The names and functions of some of the various characters were lost on me but I got the general gist of it and I was motivated to consider the effect on the psychology of an unremitting regime of politics and violence. There is much food for thought here and I can unreservedly recommend it to all but the most squeamish.