In "Pépé le Moko or the Impossibility of being French in the 1930's, Martin O'Shaughnessy uses an interesting aanalyitical framework to show how the film Pépé le Moko helps remind us that, "A forward and outward-looking, civilizing, modern, virile power and an ageing, decrepit, introspective and xenophobic nation just would not gel" In particular, he says the tensions are worked out in the arenas of national identity, the formation and/or sense of community, and in gender.
Nowhere is this seen clearer than in the figure of Slimane--the potential antagonist or protagonist of the film, depending on how one might see the right way to work out the French empire (even if it was in the Third Republic, the colonial agenda was strong and running in Algieria).
The Inspector Slimane proves his value as an good French national loyalist by patiently working to capture a clear enemy of the state--a bank robber. Similarly, his style of integration in the Casbah might suggest the French national apparatus can work with diverse cultural players in diverse settings to bring these diverse communities in line with French national principles. Finally, his recognition that females (Inés and Gaby) held more power than they were formally granted tilts the balance toward including women within "The Republic" (i.e. French national identity).
Of course, another side (with some supporting points brought out in O'Shaughnessy's piece) is that he was devisive and took advantage of characters stuck in a liminal state (no fixed identity).
The popularity of the movie is because he can conveniently serve both audiences (those that see him as a protaganist and those who seem him as an antagonist.
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ReplyDeleteI like that you take on O'Shaghnessy's interpretation. Your own interpretations are exactly the kind of thing I want you to explore in these blogs.
ReplyDeleteI feel that you might be missing an important aspect of the Slimane figure; namely, he represents a colonial extension of law, order, civilization in the exotic space of the Casbah (strange, dangerous, mysterious, yet somehow an object of inescapable attention).
Hello everyone!
ReplyDeleteSo something that I found interesting in "Casque D'Or" that we didn't get around to talking about in class was Marie's hair. Since we all know that casque d'or in English means golden helmet it was only fitting that the actress who played Marie have blonde hair styled in a way that symbolized a helmet. Throughout the movie, I noticed that whenever she was around Felix and his gang her hair was perfectly shaped as a “helmet.” But when she was with Jo Manda alone it was either down or in a more romantic and loose up-do. I even thought that in the scene where they see Felix’s men outside of the church her hair looked differently from when she was talking to the two men then it did before and after the conversation. In my opinion, the symbolism of this is quite simple. It seems that her hair represents who she is. When she is around Felix and the gang, it represents a helmet which could mean that she is on her guard and realizes the necessity to be on her toes at all times. But with Jo, she can relax and be who she really is because he actually loves her. Again, this is my interpretation so feel free to agree or disagree.
I think this could be a gateway into any other costume or setting choices by the filmmakers that you feel added to the underline symbolism of this movie.
I also wanted to address the comments that were made about how she really had no right to feel anything more than acceptance for using her body to persuade Felix to help Joe and Raymond. I personally feel that even though she is a prostitute and shouldn’t be surprised Felix would expect sex in exchange for help, I can sympathize with her emotion. She had just spent time with Jo in the countryside and realized that she was in love as well. She started to see herself as more than just a common prostitute and as a woman with more to offer and the new knowledge that there are men out there (Jo) who can see her as more than that. I think this can tie back into the hair symbolism. She went out of her shell with Jo and took off her “helmet,” so to speak, and let someone in. To let your guard down like that I think it’s hard to look at your old ways with the same mindset. Her character development had gone passed her old ways almost like she matured through that time in her life.
So I guess I will open the discussion up to everyone else to reflect on any of the topics I briefly mentioned!
Celia,
ReplyDeleteI agree with you about Marie's hair because I noticed it too. Part of my interpretation is that the film directors used her hair to their advantage in fully modeling the title. To take this to a sort of feminine standpoint of gender roles in the article. Marie's hair could have beeen designed in a way that is being used to her advantage. For example, we talked about how Jo was her escape, so naturally I would think she would want to look more laid back and seen as a woman, compared to when she was with the gang, she wanted to be the desired object but was also on her guard because she was being mistreated.
I think its interesting that you brought up the costumes of the actors as well. Thinking back the actors where given specific costume traits that were ideal for their characters. Even though, I believe that it may have been the fashion back then, but I remember Marie's shirts to be off the shoulder at some moments in the film, further promoting that she is a prostitute. However, the rich women who went into the bar, I think, that night Roland was killed didn't bear too much skin. Also Felix, and the other gang members were dressed accordingly, but you could tell you was higher up in the "ranks" by the way they were dressed. Felix always had a suit that matched compared to the other men who may have been dressed well but not in coordinating suit and tie.
I feel that part of Marie's attraction to Jo (and vice versa) is the idea of wanting what you can't have. Playing off the idea of "escapism" Marie is unattainable in a certain way. Trapped in a life of thugs and gangsters, Jo sees Marie as this sort of liberation. When something is hard to get (or forbidden) you immediately pay more attention to it. This heightened attention (which escalates quickly into obsession) makes Marie, the "forbidden fruit" very important.
ReplyDeletePerhaps another way to view this is by Marie scarcity in the movie. When something is scarce, its perceived value increases. You want it more because you think other people also want it. Like Marie and the thugs, she was treated poorly but also extremely valuable to the men. How ironic! The more people who bid, the more you’re willing to pay (or kill) for the item.
If we are focusing on costume, I think it can be brought up that the gang and prostitutes were very well dressed. Although Leca and Raymond may have been the best dressed Leca was also very concerned about the image of the rest of the gangsters. Felix Leca did not want his men wearing those driving style hats and wanted them to look presentable. Leca may not have been opposed to killing men but he was opposed to his gang looking sloppy.
ReplyDeleteManda was dressed much more simply but also seemed to have his "uniform" just so. I did not really understand the cummerbund around the waist but it must have some purpose or meaning. He certainly looked more like a working man than a gangster even though he was able to hold his own and could have easily fallen back into that life. His clothing also lent to him seeming more humble and loyal than a suit would have.
Marie always looked flawless and whether she was sort of on as a performer or relaxing with her love she was beautiful and certainly her blond hair was a focus. She did show more shoulder when she was with the gang as opposed to Manda and she just looked much softer and romantic in the countryside.
The rich folks that came to see the gangsters were certainly different in the way that they dressed. The men were in tuxes and the ladies all looked very formal. It is as if they came from high society to see a show that was put on by the gangsters, sort of a novelty act.
I think that costume was a huge part in the telling of this story and an interesting focus for this discussion.
I absolutely agree with what everyone has been saying. I thought that the costume choices were a very important aspect of the movie to, in my opinion, mostly represent a clear separation between the gang and everyone else. The gang was dressed in a very particular way that was very different from Manda. I think this really helped show that Marie was looking for something very different then what she was currently involved in. Like others said before he was dressed much simpler then the gang members and provided an escape from her.
ReplyDeleteI also noticed what Celia said about the hair and found that piece very interesting. When she was with Manda her hair was down and she was relaxed but when she was with the gang she it was up and she was always more focused on what was going on around her.
Celia! I appreciate your comment because I found myself thinking over the title more after class and I think you explained it perfectly! :] I have in my notes that Becker really wanted this film to not just be a "time piece" so he was meticulous about the set and details and (although I am not superr familiar with the time period) I think he did a good job. But on that note, I was even more tuned into all the details in each set and how they might be of importance to the scene. Many of the things I noticed have already been mentioned, but I will go over them again quickly. Yes, of course, her golden helmet, guarding her perfect and pretty from the gangsters...but also things as subtle as the pretty garden cafe where Manda and Maria first meet. I like Melissa's attention to the clothing as well, and I think that it is interesting to note how even though Leca tries to hold an air of importance in his attire (and attempts to get his gang to do the same) there is still a distinct difference in both attire and general appearance (how the characters carry themselves, even without dialogue) between the wealthy group that comes into the bar and the gangsters. It was interesting to see a range of classes represented and the fine lines that draw them together and apart. For example, Maria's nice clothes, but the touch of extra skin showing that gives her away. The same with the gangsters. Even Manda, who tries to actually dress down from his old title, meshes his identity between a humble servant and a heroic ex-gangster. All theses classes and identities briefly mesh at one point or another in the film, and it is thanks to the settings and costume design that we can determine such!
ReplyDeleteThis is a fine start on the blogging. I appreciate the attention to details that Celia raised, and the subsequent discussions along those lines. Thinking about the accompanying settings there is a clear switch in one's emotional responses to the scenes due to these changes. A good exploration in the mise-en-scene.
ReplyDeleteSo, in what ways do you think the film wanted to express uniquely French themes? Did the filmakers have a particular agenda regarding that? In Carr's simple little plan for analysis you are in the first (details) and second (social relations) categories. What of values?
Great start Celia, you've all brought up some great points. I definitely agree with what's been said about the use of hair and costumes for establishing a visual language within the film. As has been said, Marie's hair is clearly of high importance given the title of the film. I agree that this stiff, polished style she sports with the gang and when "on duty" is a way not only of playing up the her strong exterior, but also as emphasizing the notion of Marie as an object more than a woman. Felix and the boys, especially Roland, treat Marie like an object, something to be shown off and traded around freely. The men don't see Marie as a woman or even a person; they treat her disrespectfully and assume she'll be always be around to appease them. This highly stylized hair reinforces the artificiality of Marie's appearance and her objectification due to her profession and the men who employ her. I also agree with Celia's comment that Marie's loose, relaxed waves in the country side are definitely indicative of the freedom and comfort Marie feels with Manda, who views her not as a prostitute or a lust object, but as a woman and an equal.
ReplyDeleteIn response to what Dr. Knick mentioned about Carr's analysis, actions and values are both prominent institutions within the film. The actions of Marie highlight the cultural values in France at the time. While it may have been her societal role as a prostitute, we can empathize with Marie's emotional struggle as a viewer in a different time and place.
ReplyDeleteThis leads me to my current train of thought--while the director may have intended to portray uniquely French themes, the film addresses many universal concepts that it is mimicked throughout movies worldwide. Take Pretty Woman, for example. This movie also gives us insight into the emotional struggle of a prostitute looking for an escape, which she eventually finds through love. Also, not that many of you would be familiar with Bollywood cinema, but the classic Umrao Jaan (1981) depicts similar themes as well.
I'm sure I went off on a bit of a tangent, but just some more thoughts for everyone to consider.
As much as I didn’t drastically notice it while watching the movie, now that I think about it, the hair and costumes were two very prominent elements. I find it interesting what you guys said about Marie’s hair playing as a helmet and representing how she felt physically and emotionally. I agree that I think her hair created a sort of representation of how she felt in certain situations. She seemed a lot more relaxed when she was with Manda, so her hair was less tamed and down. When she was with Felix and the gang, her hair was much more constrained and pulled back to show how uncomfortable she was. With this, I think that her hair played as a literal constraint and it seemed that the higher up and the more “helmet-like” her hair was, the more guarded she was around the other men.
ReplyDeleteI think the idea of the costumes in the movie were just the same if not more evident of representing physical emotion. Starting with Felix, is outfit directly correlated with his hardass mentality and his idea that he ruled everyone. Even the other men in the gang were fairly well dressed, but I think that the filmmaker purposefully put them in clothing from a slightly lower status to show their roles under Felix, but also to show that they were gang members so they couldn’t be dressed in suits (if that makes any sense). The same goes for Marie and her slightly revealing dresses that could easily show more shoulder. Again, I think that the filmmaker purposefully used this costume of a dress to show that she is the lady in the group, but he also used the promiscuity to show that she is still a prostitute and can be easily manipulated. I think that the uses of costumes are a literal example of putting your heart on your sleeve. The costumes that each of the characters wore and the way that they felt was directly correlated with how they presented themselves by the clothing that they were wearing. The only one who didn’t follow this was Manda because he seemed to hide behind his normal looking clothing and be a nice guy regardless of his past.
I think that the film A Prophet was a great film for looking at racial tension. The fact that the film took place in prison make it very easy to see where the lines were drawn.
ReplyDeleteMalik, as an Arab man that grew up within the prison system would have seemed to have been hopeless in the prison world. When Cesar has a purpose for him right away his life changes for what seems to be the worst. He is treated poorly among the Corsicans for being Arabic and not really accepted by the Arabs because of his alliance with Cesar and his men.
Throughout the film, Malik manages to stay somewhat neutral while also becoming an extension of Cesar. He cooks, cleans, makes coffee and kills for Cesar. Malik becomes his eyes and ears. Malik uses this to his advantage and makes a name for himself while learning the ropes of the mafia business.
To take the eyes and ears piece literally, when Cesar is reminding Malik that he still holds power over him he injures his eye in a pretty brutal way. Later in the film, as Malik is still acting on behalf of Cesar, he temporarily looses hearing. I think this is when Malik is transformed and he is no longer seeing and hearing for Cesar but for himself.
After time in the hole he emerged a new powerful man.
Melissa, great post. However, I have to disagree with you slightly. While I do think that Malik begins to think for himself by not killing the man Cesar wanted him to, I think the temporarily loss of hearing may be a example of the last of Malik's moral concious seeping out of the window. Not only is Malik just blatantly shooting around the car he also has a look of content on his face. To me, this says that he found himself, which is in partial agreement with you, but maybe another alternative look.
ReplyDeleteAfter the time spent in the hole, Malik does come out a new man, but I do think that the time he spent in the hole was do decide who he will be from now on and what he will do with his life. I like the way the directors portrayed this transformation of Malik because it gave his view from the exterior. We were able to see how he felt and thought but at the same time watch his actions.
I agree with what has been said thus far. I feel that Malik truly came into his own starting with the killings in the car and during his time spent in the hole. I think this is especially portrayed through his loss of hearing and the fact that he can't see Reyeb anymore. However, I can't decide if Reyeb symbolized his guilt or served as his confidant during the time in which he was figuring out who he was. When Reyeb was present it never made Malik feel on edge. In fact, we see Malik searching for Reyeb during his time in the hole. Perhaps Reyeb is another way to show that Malik was not completely free. He had ties to things and people in his past that kept him from truly being independent. There seems to be a release when he is laying in the car as the other men are shooting at him and he has a look of peace. I think at this moment Malik no longer feels attached to the Corsicans, Cesar, or Reyeb. He is truly his own man starting at that moment.
ReplyDeleteMelissa and Nicole, you guys both have really good views on the transformation if Malik throughout the film. In a way, I guess I have to side with Melissa and I think your idea about the literal eyes and ears for Cesar is really interesting. I think throughout the entire film Malik knew who he was and what he wanted to do but he also allowed himself to be somewhat manipulated by Cesar and the other guys in order to watch his own back. He constantly said throughout the film “I work for no one. I work for myself” which is interesting since it was obvious to everyone in the prison and to us as viewers that he was Cesar’s little bitch (excuse my French.) I think that everything that Malik did, whether it was killing the guy with the razor blade, which was disgusting by the way, or running errands for Cesar, he did all of it to survive emotionally and physically within the walls of the prison. Cesar said in the beginning that if he didn’t kill the guy that Cesar would kill him and because of that threat, Malik had to act to save his own butt. I think that the whole time Malik knew what he wanted and in a way he did find himself throughout the film. It’s interesting that the part where they were shooting around the van and when Malik partially lost his hearing seems to be the sudden realization of everything. Melissa, I find your point about him losing his hearing having a deeper meaning and him no longer seeing and hearing for Cesar really interesting. Throughout the entire film I think Malik had little things like that to remind himself who he was. After partially losing his hearing and being in the hole, I think that that was his ultimate wakeup call and he finally had the ability to show who he was and again, work for no one.
ReplyDeleteI agree with what has been said thus far for the most part. Melissa brought up a really good point about looking at the significance of the eyes and the ears. This was most definitely intentional by the director; I think the debate lies in the reasoning behind why it is significant. I think that when he does become temporarily deaf, he is clearly no longer the eyes and ears for Cesar and that he is on his own. However, I don't necessarily believe that he no longer had any morals. I think instead he saw this as a way out of his situation and a way to control his life. I like Melissa's comment about how Malik emerged a powerful man after the hole. This is exactly what he worked for the entire movie. He played the humble role very well and did everything that the Corsicans wanted him to do. However he was simultaneously learning to read and their language, he knew that in order to succeed he needed to work hard.
ReplyDeleteI disagree though with the idea that the hole gave him time to decide what kind of person he was going to be. In my opinion he had already decided. He already knew exactly what was going to happen when he got out of the hole and what new role he was going to play. He had made a lot of prearrangements that were simply in his best interest and not in Cesar’s. In my opinion the hole was a symbolic tool used to show that he was ready to be free from Cesar and from his life in jail.
Melissa-interesting perspective on the literal interpretation of the ears; I had not considered that. In response to Celia, I originally saw Reyeb as a representation of Malik's guilt and inescapability of his actions. However, after some time, I've considered an alternate possibility: the presence of Reyeb can also be interpreted as the hold Cesar has on Malik. Once Malik affirms his break from Cesar, he can no longer see Reyeb.
ReplyDeleteOne question I have is how everyone else is interpreting the end of the film. Would you say that Malik is free or is he now condemned to this life of crime?
You posted a nice interpretation to get the ball rolling Melissa. I appreciate points brought out by each of the other posts--especially, in that you have a conversation with other posts.
ReplyDeleteSo the symbolism is rich surrounding the executions of Italian mafia leaders and the Corsican snitch. Combined with Malik's 40 days in the hole it seems to be the lynchpin to understand the overall point of the plot. I'm glad you each helped to establish this.
It begs the question: So what might this be saying about how the filmakers view the role of minorities, mafia, and prisons in French society?
When Malik goes to meet Lattrache in Marseille this is a huge turning point in the film. This is when we discovered the true nature of this ‘prophet’. Although he has been under the control of Cesar for the entirety of his sentence in prison Malik begins to come into his own as a businessman, criminal (whatever you’d like to call it). At first Lattrache is upset with the Corscans for the murder of Reyeb and threatens Malike but subsequently impressed with his sudden warning of the deer in the road. Until this point his dream of deer running in the road wen unexplained but eventually became saving grace he needed when at gunpoint. After this, Luciani agrees to team up with Malik instead of the Corsican mafia, giving Malik his first opportunity to challenge Cesar. A prophet is defined as someone who speaks for God or perhaps a divine inspiration. Although God is not necessarily the implied inspiration here it alludes to Malik connecting with something greater than that of what he is familiar with. Until this point the Corsican mafia had been his ultimate source of ruling, the judgement between right, wrong, good and bad. The scene of Malik’s first trip on an airplane was an insight of his transformation into something greater than servant he has always been. He begins to make decisions on his own as well as disobey the ones he previously never would have. As he creates a deeper more multi-layered network of criminal ties Malik’s power begins to outstrip that of Cesar’s. This theme is confirmed at the end of the movie when Malik enters the prison yard with the Muslims by his side, having built a new throne of power. As Luciani sits alone he tries to approach the group but is beaten by two bodyguards. The last scene displays Malik leaving prison with Ryad’s wife and child, his new life, followed by a trail of his protectors. As the movie evolves, so does Malik. Starting as an illiterate 19-year-old Malik leaves as a prophet, a man who rose against all odds to become the new top dog.
ReplyDeleteSorry I am so late in the game with posting!!!!! So what fascinated me the most with the movie was not only the great symbolism and biblical allusion, but the stylistic ways at which they represented these symbols. Specifically, the reoccuring visual motif of the almost completely black screen with a narrow hole to view from was used several times in the film. The film opens with this shot and it continues at other points in the film, like when he is learning how to read or even when Cesar is attack his eye with the spoon. I think this technique is used to highlight moments in the film at which something significant happens, a next step is being taken. Like Melissa (and the following posts) discussed...the symbolism in the scene where Cesar is attacking Malik's eye, in my opinion, really does represent a success and freeing point for Malik, although it is seemingly a defeat since Cesar is doing it to establish dominance over Malik. Just like when he learns to read (educating himself is a form of freeing himself), he is symbolically being removed of his position of being the "eyes" of Cesar, very ironically by Cesar himself. Because although in the moment, it is belittling, Malik now knows how much of a threat Cesar is beginning to see him as. -Rachel K.
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