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Entirely agree with you (I think, if only you’d state a thought of your own [[roll]] ) that La Haine is NOT realist, far from it; I’m constantly puzzled by those who record that a film shot in black and white in 1995, full of recurrent visual metaphors and unnatural camera angles, surrealisms and extraordinarily designed shots, is ‘documentary realism’. It’s not only stylish but immensely stylised, constructed to the core. On the level of the shots:
focal length constructs the space, e.g. in the scene where Vinz and Said walk off across the square telling pointless stories to each other, framed to seem immense,or the famous shot of the arrival in Paris. Internal frames constrict the characters and enclose them symbolically: in the toilets in Paris – three in one shot, set apart from each other by walls and mirrors to create a virtual split-screen, or in the derelict building they use as an improvised social centre, where the lift grids and police tape become paradoxical barriers in an open space. Quotes abound, Scorsese being only the most obvious. Visual metaphors recur: e.g. roof-tops and heights, which are also paradoxical barriers in an open space.
on the level of the story: almost classical tragedy. We’re told the story in all its inevitability, metaphorically, before we start; we watch how the characters, through their hubris and against their will, act it out; part sof the metaphor recur regularly (the high buildings, the shot of the planet..) to remind us of it, and the story is repeated at the end; while the fragmentation and the ticking clock provides an interior structure.
On the level of the narration: there are a large number of interior stories, apparently digressions whose relation to the main theme is not definable, but is never dismissable. The man in the toilet, but all the little unfinished anecdotes can be seen to have some bearing on the situation of the story.
On teh level of the characters: does this perfect symmetry of the three friends who represent that alternative trilogy ‘black-blanc-beur’, all fatherless and with a younger sister, two with elder brothers, two with ‘mother-figures’ at the head of the family, not seem a bit too neat to be ‘realist’?
3) Kassovitz is NOT ‘of working-class background and from the banlieues’, his father was a TV producer, he knew all the right people in the industry, and the first time he lived in the banlieues was when he made this film in them. And we all know who Vincent Cassel’s father was. Said Taghmaoui and Hubert Daoundé had vague banlieue connections, but not rough banlieues and both had lived elsewhere for some time At the same time at least two films were being made by directors who really were from the cités, using non-professional actors: Hexagone and Etat des lieux. They’re a lot more rambling, and much less visually fascinating; they aim to present slices of banlieue life which cover more ground – notably including women’s experience, relationships, and the protagonists’ relation to North African and some other background cultures, whic Kassovitz leaves out entirely. They’re more authentic and less skilful, and they never had a fraction of the impact that La Haine did. But even on its release reaction from the banlieue-based audience was mixed, with considerable protest at the stereotyping which the film contributed to.