The Axe

Costa -Gavras 's body of work does not lack in unity.

Except for his two fist movies,which were thrillers , a romantic tale ("Clair de Femme" ) and a comedy that does not count ("Conseil de Famille' ) all that he has made display social and political concerns.

From his early French classics ("Z "(He is alive) "L'Aveu" ,"Etat de Siège") to his American period ("Missing" "Betrayed" "Music Box" ) to his French comeback ("Amen" ) there is a cohesion which even André Cayatte ,his closest contender in the field,did not reach.

And then "Le Couperet" .Don't be mistaken.It's not that much different from CG's previous efforts.Based on a Donald Westlake novel-a writer whose black humour was fierce- ,it contains lines Henri Jeanson or Michel Audiard would not have disowned.Comedy walks a fine line ,but it walks hand in hand with tragedy .You must watch it seriously to realize what heavy things CG is saying.While making his film verge on parody,he is also putting the French society in a less exalted light than we have been used to seeing it in.Suddenly our world seems frightening (the gas station man who hides a gun in his cash register,the icily impersonal female headhunter -I wish I had had my gun!-)It is really the society of the leave-you-behind and perhaps -I hope not - an omen of things to come in the future.I do not speak of the murders obviously.There are other ways of destroying a human being."When I saw them enter the restaurant ,the German ex-engineer says,I knew that I didn't stand the slightest chance ".

The last picture has (and will be) widely talked about.Actually it reminds me of the ending of Mankiewicz's "All about Eve " when Phoebe tries Eve's crown .When you get to the top,there is nowhere to go but down.

A film noir,a farce,a psychological drama ,a social satire and a movie where CG talks politics.One of his most accessible and one of his strongest works.At seventy plus,CG is as young as the reporter who bothered the fascists in "Z".He is abetted by Jose Garcia on top of his game.

Like this?Try these.....

"Extension du domaine de la lutte" Philippe Harel 1998

"L'adversaire" Nicole Garcia 2002

"Working girl" Mike Nichols 1988

People who characterize this film as a comedy obviously haven't got it. The comic element is just a thin surface. This is a tragic story and a very strong political statement. Obviously Bruno's decisions and actions are absurd, but his circumstances are not. The movie offers an incisive look at the dark reality of chronic unemployment. Corporate greed leads to story after story after story of desperation. Westlake and Gavras know that in order to pass the message you have to lighten up the atmosphere (a la Truman Show), or else the viewer won't sit the whole movie. In order to appreciate the film you have to marginalize the main plot element (the murder story) and concentrate on all the subplots.

Costa Gavras is a master of the political film. Political films in general are not my cup of tea. They try to convey some kind of message to the public, and they do it by portraying the persons in a stylized way, losing in depth in the process. People are portrayed realistically but their conflicts are simplified because the political film intends to portray society and its problems - unemployment, hunger, class exploitation and so on - in other words, they talk about the big (lack of bread, for instance) and forget the small (emotions like loneliness and sadness, for instance).

Many political films concerned about their objectivity are quite emotionless, or else their emotions are one-sided - bad and ugly live here, beauty and love live there, or the other way around.

FEW POLITICAL FILMS are able to bridge this gap: to talk about society and at the same time not forget the individual man and his/her very complex universe and contradictions. SOME OF THESE FILMS ARE the masterpieces of neorealism: "Ladri di Bicicletta" and "Umberto D" by Vittorio de Sica, "Los Olvidados" by Buñuel and many others.

Costa Gavras doesn't reach this goal. His films are efficient and convey their message to the public, but they lack warmth.

"Le Couperet" is nonetheless an interesting film - a man that works as a chemist loses his job and after 2 years of unemployment decides to kill whoever stands in his way to get another job - so he places an ad of an imaginary enterprise in the newspaper offering a chemist job (his professional area) and rents a post box to read the answers he gets. He reads all the résumés and proceeds to kill all the people that are equal or more qualified than him - so that in the end he'll get the job because he will be the only remaining choice. All the while he will go on living normally with his family. He will suffer emotional crises, his marriage will become strained but no one will suspect anything at all of his alternative activities.

The film, after all, is very entertaining and gives a sad picture of France (and Western Europe I would say), suffering economic crisis and rising doubts. Is it possible with the globalization to maintain a very expensive Social Welfare and have to face a growing economic erosion? In USA (as far as I know), for instance, some unemployed people live on the streets or under the bridges. In France and Western Europe, unemployed people are still taken care of. Till when? Many enterprises are closing or cutting expenses (that means firing people).

Costas Gavras films are good because they make questions about the world in which we live, they make us think, but his films don't really touch me - I would say they provide food for thought but not food for the heart.

Many years ago there was a film starring Alec Guinness called "Kind Hearts and Coronets", which took the case that a member of a wealthy family murders off his relatives to inherit the estate. "Le Couperet" offers a similar plot, although this time a disgruntled unemployed engineer becomes an inept assassin to remove his competitors for a top job with often-hilarious consequences.

In this very dark comedy Jose Garcia does well as the bumbling killer, at times reminiscent of a young Jack Lemmon, and there are many surprises along the way. The film does highlight more sincerely than you may expect the plight of middle-aged professionals that are retrenched, and find it difficult to obtain positions in the current climate. Many watching the movie might well relate to its characters and their plight.

Excellent sequences include the job interview, which has more than a ring of truth, the discussions about unemployment and its social consequences by the discouraged out-of-work executives, and the scenes with the marriage counselor. Despite its black humour, there is a very human side to this film. Costa-Gavras is an exceptional filmmaker, with experience that shows in the smooth integration of the hilarious with an undertow of real pathos. The story ends on a suitably enigmatic note.

I've seen "Le Couperet" and it impressed me.

There is a lot of suspense.

And influence from Alfred Hitchcock movies.

Costa-Gavras himself came to my country (Brazil) to give a lecture and answered questions about cinema and his movies in March 29, 2005.

He talked about how he started making movies and the French movies.

In his opinion, France is a good place to make movies because the government helps filmmakers and there is at least 150 movies made every year.

In March 31, an avant-premiere of "Le Couperet" took place in Salvador, Bahia, Brazil.

It was great to see this movie having Costa-Gavras present.

Amazing.