«En liberté!» and the muddle in our heads

Cinema Wednesdays - Loris S. Musumeci

«No, but do you realize that you ate that guy's ear?»

Jean Santi was valiant, loyal and courageous, and gave his life to defend his city. A tribute to the late cop, who left police commissioner Yvonne a widow, and a little boy an orphan. It's been two years since his death, and two years since Yvonne tells the little boy every night what a hero his daddy was. Mourning requires worship. But one day, at the police station, a jeweller recognizes the ring on Yvonne's finger. And that's when it hit her.

Jean’s luxurious gifts were the result of little deals he made with the criminals he was supposed to arrest—particularly in that jewelry store case. The jeweler and the police commissioner had in fact arranged a staged robbery and sent an innocent employee to prison, framing him for the crime. The “hero” was, in fact, corrupt. The hero wasn’t really a hero at all. To bring the story full circle, the wrongfully accused man is released from prison, and Yvonne naturally feels she owes him a debt of gratitude. This will lead to some of the most zany situations.

Quality in Photography

On the loose! showcases a whole range of talents. The screenplay reflects the director Pierre Salvadori’s thorough work and keen wit. The soundtrack also has its merits, but it is the cinematography that is particularly impressive. Admittedly, one doesn’t expect such meticulous visuals from a comedy. Like the film To the station! starring Benoît Poelevoorde, which was recently released, On the loose! shows that skillful camerawork isn't just the preserve of obscure arthouse films.

Read also: Poelvoorde in a totally absurd and brilliant «Au poste!

The interplay between sharp focus and blur adds real value to the image, as it serves the storyline and gives the film a little extra flair—even if the viewer doesn’t necessarily realize it. The colored lights, meanwhile, define the different atmospheres in which the characters find themselves. Without giving too much away, expect to go from the blue of freedom at night by the sea to the red lights of a sadomasochistic brothel.

A discrepancy

Also, during the dialogues, there is a noticeable disconnect between the speaker and the listener on several occasions. One is filmed from the side, the other from the front. Here again, a directorial detail speaks volumes about the message conveyed by the script: are we ever truly capable of listening to what’s being said to us? «Sorry, my mind was completely elsewhere.» This line comes up often, exchanged between different characters. The one who didn’t listen is no longer listened to in turn. The scenes pass the baton back and forth. The same applies to the disconnect illustrated by mock dialogues. Two parallel monologues respond to one another, which never fails to create a subtle comic effect.

This brings us to the soundtrack, which concretely brings these disconnects to life. While there are disconnects in the dialogue, there are also disconnects in time and in reality. Time and again, through the power of imagination, we return to the mythical stories of Commissioner Santi that Yvonne tells her son. And each time, these stories are different, depending on the mother’s mood. To mark this transition, the sound of a reel rewinding is played. It lends a burlesque air to the film and, at the same time, creates a small ritual that makes the viewer feel fully immersed in the story.

There are no limits to the imagination

If On the loose! is full of slapstick, but it isn’t always truly funny. Sure, there are laughs, but they’re lighthearted and very sporadic. Critics might therefore fault the film for this apparent shortcoming. However, it’s important to understand that how much or how little a film makes you laugh shouldn’t be the most important criterion for a comedy—especially since there are many different types of comedies. Some are raunchy and over-the-top—and that’s a nice change of pace every now and then!—while others are more subtle and less funny—yet they still retain their status as comedies.

Salvadori’s feature film, despite its occasional sluggish moments and flaws stemming from poorly executed repetitive elements, has the merit of delving into the depths of what it means to be human. The film delves into the characters’ fantasies, exploring their desire for happiness and their most personal aspirations. In short, it discreetly reveals what goes on in people’s minds while giving free rein to micmac the protagonists’ state of mind. The final scene, more than any other, ultimately demonstrates the omnipotence of the imagination despite the sometimes tragic reality. It just goes to show that the mind has no limits. in prison as On the loose!

«We're the ones people like to hurt.»

Write to the author : loris.musumeci@leregardlibre.com

Photo credit: © Filmcoopi