Le Chant du loup is a total success in its field, that of mental, refined and human action cinema. We adopt.
Released in cinemas in February 2019, The song of the wolf will be offered this evening on M6, followed by a documentary on nuclear submarines. First strongly advise you to discover this ambitious French film carried by a nice cast: François Civil, Omar Sy, Mathieu Kassovitz, Reda Kateb… Here is our review.
Off the Syrian coast, a French submarine waits to pick up a special unit of combat swimmers. But another submersible is lurking, and only the young Chanteraide, “the golden ear” of the French ship, is able, using his headphones and microphones, to decipher the sounds of the sea and spot the enemy submarine.
The tension is maddening, yet it is only the introductory scene of the Wolf songand the whole film could be held there, encapsulated in its somewhat DIY submersible cabin: these crewmen who squeeze into a small space using esoteric, incomprehensible language, full of numbers and symbols (“Find me a solution in 5-0-7!” I adopt! ») which gives an inimitable poetry (although military) to the slightest sentence.
This technical language is also that of American action cinema, to which The song of the wolf refers constantly: we obviously think of the double Hunting for Red October And USS Alabamatwo submarine films designed as mental duels, games of wargames under water and between men.
Although very virile, Baudry’s film is also not a gleaming actioner with sexy women, Slavic villains and big tuned cars – the formula to which the genre was summed up in France during the twenty years of EuropaCorp domination. But, despite square production (and the support of the army, essential to carry out production of this magnitude), The song of the wolf is not Knights of Heaven under the fleet.
For his first production, Antonin Baudry, author of the comic strip Quai d’Orsay (under the pseudonym Abel Lanzac), does not see his film as a document nor as a political metaphor but as a true thriller, where the characters identify with their role. François Civil, Omar Sy, Reda Kateb and Mathieu Kassovitz: the golden ear as autistic as he is hotheaded, the human and heroic non-commissioned officer, the calculating and cold commander, the veteran and poorly polished admiral…
It is not the least of the film’s merits to think of the deck of a submarine as that of a scene where some of the greatest – both in terms of play and stature – are moving. contemporary French actors, and to make its spectator identify with the character of the little new François Civil (already amazing in Burnoutan overstyled motorcycle film and not so far from the Wolf songbut which you may have missed in theaters last year).
Baudry, a former diplomat, comes from the world of language and writing, and it shows (the film opens with a beautiful quote from Aristotle): from a technical point of view, his first film necessarily bears traces of oil and running-in, and fails to achieve the purity of Swiss watchmaking, but on arrival, its Wolf song stands thousands of nautical miles beyond the competition in terms of ambition and stature. And the result is there.
We grip our chair, we hold our breath, we feel like we are with the characters, driven by their sense of loyalty and friendship (and not the sense of cowardly duty) to accomplish an unimaginable sacrifice. Under its unprecedented ambition in the genre of war films, here is a cinema of men, not stupid (although a little sacrificed, the only female character embodied by Paula Beer will give the film a superb and heartbreaking final shot) neither macho; a cinema that seeks pure action and, to this end, puts humans at the center of its mechanics. Despite its radically new appearance in the French cinematographic landscape, go see The song of the wolf is not a patriotic duty. It’s simply an opportunity to discover a good film, a real one.
Trailer for Wolf song :
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