'Brotherhood' not always successful at mixing genre
Julien R. Fielding
At the very least, you have to give writer and director Christophe Gans credit for innovation.
He takes a relatively obscure French folk tale about a marauding beast, then heightens its appeal by throwing in some kung fu action.
The result, "Le Pacte des Loups" or "The Brotherhood of the Wolf," is a curious cinematic hybrid. It's one-part horror film, one-part historical drama and another part martial arts-action film.
Inspired by events that transpired in south central France during the reign of Louis XV, "Brotherhood" spends the first half of the film telling us what happened, then, in the second half, postulating a possible explanation.
It's a noteworthy effort, if not without some flaws.
For those not familiar with the story of the beast of Gevaudan, and that would be most people not living in France, from 1764 to 1767, this mysterious creature claimed more than 100 victims, mostly women and children. In 1765, the situation was considered so dire that the king upped the already exorbitant bounty on the beast's head.
The king believed this internal defeat demonstrated a sign of weakness he simply couldn't allow. For not only were French egos still throbbing from the loss incurred after the Seven Years War - they signed the Treaty of Paris on Feb. 10, 1763, which gave all of North America east of the Mississippi to the British - but they also were trying to stifle peasant grumblings.
Religious leaders warned that this monster was punishment from God and that it was the devil himself. Others believed the killings were the handiwork of a loup-garou or werewolf.
Writers Gans and Stephane Cabel toy with several of these ideas, then present their own.
The film starts with one of the beast's many murders, all of which are presented artfully and not too gruesomely, so we know what we're up against. Then we are introduced to the lead characters - naturalist Gregoire de Fronsac (Samuel Le Bihan) and his stoic American Indian sidekick, Mani (Mark Dacascos) - men dispatched by the king to take care of that pesky beast problem.
Being a man of science, Gregoire doesn't accept that an ordinary wolf is responsible for the crimes and begins an investigation of his own.
During his stay in the region, Gregoire encounters some unusual types, including Jean-Francois Morangias (Vincent Cassell), a nobleman wounded in Africa; his coquettish sister, Marianne (Emilie Dequenne); the family's priest, Henri Sardis (Jean-Francois Stevenin); a local witch-woman (Virginie Darmon) and the mysterious prostitute, Sylvia (Monica Bellucci). He also finds that all the people he meets might hold a key to solving the beast conundrum.
"Brotherhood" is a sumptuous period piece that honors the eye with every shot. Therefore, it shouldn't be too revelatory that it's been nominated for four Cesars ? the French equivalent of the Academy Awards ? including best costume design, music, production design and sound.
Designer Dominique Borg creates some positively stunning costumes, particularly the rain coats worn by Fronsac and Mani on first approach, as well as some of the ensembles worn by Bellucci and Dequenne. Borg also uses color specifically, to communicate meaning and as a historical reference.
For example, in one of the hunting scenes, Jean-Francois is dressed in a red hue that's also found in 18th century French paintings. Those familiar with Borg's work on "Camille Claudel," for which she won a Cesar will be excited to see what she's been doing.
Guy-Claude Francois, a Cesar nominee for "Jefferson in Paris," lends his production designer skills to this grand spectacle. And he's superbly aided by art directors Francois Decaux and Thierry Francois, who also worked on "Jefferson."
Danish cinematographer Dan Laustsen first came to my attention about five years ago with his work on the science fiction-horror film "Mimic." He equally impressed with the Ewan McGregor thriller "Nightwatch" (1998). Laustsen is notorious for creating shadowy realms where some gruesome creature could hide. He seems to take tips from the Dutch masters, who used light and shadows to not only articulate form but to also create atmosphere. Laustsen is a master of his skill.
The filmmakers rely on various techniques, particularly slow motion, to give certain moments greater impact. The fighting-in-the-rain sequence is the most notable example. So we see individual water droplets, every hair as it whips around and the impact of a kick or blow. Although initially stirring, the technique gets a little too much use and by the end becomes annoying.
Crew aside, the cast features some notables. Of the French actors, Cassel should be the most recognizable face, having starred in films on both sides of the Atlantic.
American filmgoers might know him from "The Messenger: The Story of Joan of Arc," as the Russian baddie in the newly released "Birthday Girl" and as the voice of Monsieur Hood in "Shrek." Cassel is proficient as the bad guy and here he snorts, sneers and spits with the best of them.
Le Bihan has some good moments as Fronsac, however, he's often upstaged either by the beautiful Bellucci or by the austere Dacascos. Bellucci proves again to be a fine actress, who is capable of raising the neck hairs. She's often creepier than the beast. (Last year she starred in the Oscar nominated "Malena.")
This is Dacascos' second venture with Gans, having already starred in the director's 1995 film "Crying Freedom." Born in Hawaii of mixed lineage, Dacascos is an impressive martial artist. Unfortunately, the editing, which was handed over from Hong Kong editor David Wu to Sebastien Prangere and Xavier Loutreuil after six weeks, lessens the impact. Some of the cuts are so quick and choppy that often you don't know what's going on. Leaving you to ask: Is that an arm? No, wait, is it a torso?
It's unfortunate the fight sequences weren't handled better, but Dacascos still captures your attention. Although he only has few lines, it was his performance and character I enjoyed the most.
Visually, "Brotherhood" is one to watch. But as a story, it's often too long and drawn out. Just when you think it's about to end, it begins again ? now offering the answer to the mystery.
For me, this was where the film took a nose dive, because, although the solution was plausible, the exposition proved laughable and almost surreal.
I don't know what Gans and Cabel were thinking.
And to all those parents out there - "Brotherhood" is intended for adults. It's subtitled in French, so your 4 year old won't keep up; it contains some gruesome content and, since it's French, there's the obligatory nude, sex-scene.
I issue this warning because a family that sat in front of me brought a toddler, then failed to cover the child's eyes. It's rated R for a reason.
'Brotherhood' not always successful at mixing genre was originally published in Daily Nonpareil on 14 February, 2002. © Council Bluffs Daily Nonpareil LLC
