That was an excellent one.

Good story, Not enough for a whole film

Although it has its amusing moments, in eneral the plot does not convince.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Lucien (Philippe Noiret) our thickset protagonist is a bit of a beguiling figure. On the surface he possesses all the traits of a villain or the very least a very unlikeable human-being. He's lazy and selfish; he carries on a lustful affair with a married and abused woman (Isabelle Huppert) and sees his position (a provincial sheriff) as an inconvenience not even bothering to arrest people who knowingly break serious laws. Furthermore he's utterly weak-willed; hen-pecked by his wife (Stephane Audran) and her peculiar brother (Eddy Mitchell) and harassed by his superiors in the provincial capital. What's worse a ballsy pimp who enjoys shooting cadavers in the local river decides humiliation is better than bribery as a means to getting what he wants. Something in Lucien finally snaps and he uses his only two advantages to rid the world of his problems; his intelligence and his remote location.Coup de Torchon (1981) takes place "at the edge of civilization" on the outskirts of a French African colony mere months before WWII. Barely accessible by train, Lucien's small colorful town is a cesspool of disease, decay and crime to which Alex turns from idle bystander to perverted exterminating angel. Yet it is the way he pulls off his various revenges that is at once beguiling and disturbing. Every situation is pre-calculated and seemingly natural. Lucien never loses his sincerity or blows his cover which makes everything he does absolutely shocking. One minute he's shooting a man in the stomach, the next he's genteel with his mistress.At one point Lucien remarks that he is the devil incarnate which while giving him a bit too much credit nevertheless plays into the themes of good and evil in the film. The story is bookended by a scene where Lucien is acting as a Prometheus-like figure to a group of African children; then by another where he aims his shotgun at one of the same children as a boy stares at him blankly. As morality and civilization crumbles throughout the film, the often felt but never seen rise of Nazism promises to obfuscate the sins of the reckless sheriff. Finally there's the character of the new school teacher (Irene Skobline) who exemplifies all that is good and innocent. At the end of the film when war is finally declared, Lucien dances with her as if she were the spoils of his hedonistic one man war.As despicable as his actions are however, Lucien remains a charming central figure. Like Shakespeare's Iago, his mischievousness is hidden by an innocuous face and harmless, good-natured wit. Unlike in Bad Lieutenant (1997) this cop doesn't let the audience sit on the sidelines and say "there but by the grace of God go I." Coup de Torchon seduces you into indulging in Lucien's Machiavellian plans and for an instant lets you have sympathy for the devil.http://www.theyservepopcorninhell.blogspot.com

Bertrand Tavernier has taken the novel "TOP 1280" by Jim Thompson set in North Carolina and produced a riveting French film noir set in Senegal in 1938. At that time it was a French colony that exhibited similar social and racial patterns as in the American South. The use of color and humor add a new dimension to the genre. Tavernier in his comments about the film on the DVD talks about the change in the light in the late afternoon in west Africa. It becomes less intense so he uses pastel colors. Note the light blue walls and the pink shirt of Philippe Noiret who is superb as the village policeman Cordier. Isabelle Huppert who plays the mistress of Cordier with intensity and humor and the other actors make this a must see film. There is much humor in the film but be aware that there are many violent scenes. This is French film noir at it's best.

Looking at the slew of negative comments that this movie has racked up I can't help wondering what drew these people to it in the first place. What drew ME were the names attached to it, Tavernier, one of THE great contemporary French directors, Phillipe Noiret and Isabelle Huppert, two all-time GREAT French actors. Okay, everyone has the occasional off day but when you get to THIS level of writing, acting, directing, even the bad ones eclipse by a country mile the BEST of such joke talents as Godard and Tarentino and this particular entry is far from bad if anybody asks you. So I'm left with the inescapable conclusion that all these whingers must have wandered into the movie theater thinking they were going to see Gidget Goes Hawaian or How To Stuff A Wild Bikini in which case it is easy to understand their misgivings. For the record this is an excellent example of The Biter Bit aka The Worm Turns and all the ingredients are out of the right bottle and come together in a heady and satisfying brew. 8/10

Jim Thompson meets Joseph Conrad in a small, dusty town in Senegal. The writing is excellent throughout, delving into themes that most films would never have the guts to handle. Brutal, darkly humorous and brilliantly done. A great, great film noir. Not a movie for those easily offended (though one they should probably see and learn from.)