the audience applauded

From my favorite movies..

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

There are many things that must occur in order to say that a movie is really good. I saw this movie shortly after it was released, but had no internet or desire to write my review anywhere. Then came a flood of Hollywood movies, exceeded in special effects, but with bad scripts, without compelling stories; remakes or adaptations(bad adaptations) of old TV series, and so on. I almost forgot that it was possible to make good movies. And when I say good, I mean really good, like this. I saw it again recently, but this time I decided to give my opinion.Here is a captivating story that keeps us expectant and eager to know what really happened with Vidocq. A young man is determined to find out, reconstructing the last moments and revealing secrets. All this, with a truly captivating atmosphere, fabulous special effects, but measured and timed. Here, there is no excess of special effects. They are conveniently used to give this film a visual beauty according to the script.The edition of the film as well as the performances and the resolution of the story, are truly remarkable.It has enough twists and surprises, but does not become stifling for those who do not like thinking too much. Perhaps if more complex, it would be agreeable to a smaller group of people (like me). But that would be asking too much. There are other movies for that. This is an ENTERTAINMENT capable of covering a wide spectrum of audiences. A work truly worthy of being seen especially in times where bad movies abound supported by the God of marketing. If you like good movies, try this one.Because it made me remember that it is possible to sit and enjoy a good story, even with special effects, I give this movie a higher score.

The real-life title character of this one, a criminal-turned-Police Commissioner, was featured in many a film and TV series over the years; so, it was small wonder to see him make a re-appearance – or, more appropriately, receive a facelift – in the new millennium. With this in mind, as has become the norm in the modern revivification of such crusaders as Van Helsing and Sherlock Holmes (actually inspired by Vidocq!), he is turned into some kind of action hero; in fact, the very first scene finds him fighting it out with (and being apparently dispatched by) a mysterious and all-powerful villain – which, played by Gerard Depardieu (not so young anymore and, worse, overweight), obviously makes it a somewhat unwise decision in this case! However, the real trouble concerns the film's concluding twist: unfortunately, this follows the trend which has annoyingly been picked up far too often of late (as recent as SHUTTER ISLAND [2010]) where the plot has basically been turned on its head by the end!; my major pet peeve with this is that whole sections of the film are bound to make no sense afterward: for instance, here, a character is seen grilling another one for information (with nobody else present) when, ultimately, we realize he had all the answers already (being himself the mastermind behind all the mayhem) – WTF?! Mind you, VIDOCQ is entertaining along the way and certainly stylishly handled: thankfully, there was no attempt to update the 'myth' to our times – still, the film-makers found a way of going around this conundrum by applying to it all the new-fangled technology (including shooting in DV) in order to please the masses! When all is said and done, the most pleasing elements of the piece are those relating to fantasy/poetry (the conjuring abilities of the villain, whose face is hidden behind a mirror-mask) and which were clearly borrowed from the oeuvre of Georges Franju (with the latter's frequent leading lady Edith Scob even being allotted a small role here!).

Mr. PITOF, whoever he his was certainly influenced by English( mostly Scotish) mystery novels, with their religious themes, of salvation and damnation. In 1830 French were mostly atheistic, as they are today..Those are very much the Opposite of the French tradition (namely DE SADE) who portrays "EVIL" in the brightest detail, and fearless of GOD.This movie is the opposite. The Achemist journalist is a non credible character in 1830 France. Even the Opium usage was very limited when compared to the same times in England. French enjoy their alcohols and wines which are non-depressing drugs to this very day. Opium only reached Paris in quantities after the conquest of Indochine 50 years after, Before that its appearance in the Arts is limited to Berlioz's Symphonie Fantastique. But Berlioz was married to an English woman and its fans, are, even today, more English than French..The good points are Photography which is even darker than the script and Depardieu's interpretation. He is the only great French Actor of his generation..

We watch in the opening of the film a detective named Vidocq(Gérard Depardieu)in battle with what appears to be a supernatural being with a glass framed face buried within a black cloak. It looks as if Vidocq fell to his doom in a fire-pit in the guts of a glassworks factory. His "biographer" Etienne(Guillaume Canet)wishes to pursue his hero's case and the film follows him from lead to lead learning about the killer called The Alchemist who is a mythic ghost whose glass face is said to steal the souls of victims. How Vidocq took the case was through a Chief of Police trying to figure out how three prominent members of Paris society wound up dead, two of them being burnt by lightning(the two who are actually burnt are an arms dealer and chemist). We find as Etienne dig deeper and deeper that these three only had love in their hearts for themselves and would do anything to preserve their youth..even making a deal with The Alchemist by supplying him pure virgins from poor families they pay so that they can receive a serum for not aging. All this revolves around a tumultuous political climate(..which might become an upheaval)as King Charles is threatening the suppression of the press and dissolving of parliament. Also, Paris in 1830 is quite a lurid, perverse place where any vice of anyone with wealthy means could be satisfied. We see this as Etienne continues on his journey to find answers to Vidocq's demise.Director Pitof's in-your-face style may be jarring or unnerving for some viewers because the camera suffocatingly closes in on the actors faces. We get all close and personal even with the ugly sorts with rotted teeth or vile expressions. The film's special effects almost look purposely unrealistic and surreal creating a Paris so bizarre it's almost otherworldly. The Alchemist is quite a creation as he can do so many acrobatic and supernatural things. Another thing I found stunning was how Pitof's camera moves. It rotates around, following the characters and action. Pitof also likes his camera shooting upward from the ground. We rarely see a simply, ordinary shot of characters..everything seems unorthodox and unusual. And, the twist that comes at the end turns your usual detective story on it's head. I certainly didn't see it coming.