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The second movie starts by showing us where and how Mesrine is finally killed in 1979. Vincent Cassel reportedly gained 20 kilos to play Mesrine - and it doesn't go unnoticed The title L'Instinct de Mort is not explained before the second film, where it is revealed that Mesrine writes a book of some of his crimes (and supposedly made up ones) with the same title. This seems to me a smart and understandable way to introduce and approach a project like the Mesrine films. But overall, L'Instint de Mort is a very exciting film and a refreshing and bold mega-production that proves that Europe (here actuality France, Italy and Canada in a co-production) is not falling behind Hollywood in quality.īoth films start out with a text (almost a disclaimer of sorts) basically saying that what you'll see is true, but just don't take anything for granted. It is clear that director Jean-François Richet ( Assault on Precinct 13 (2005)) has decided it desirable to get as much of Mesrine's incredible criminal life in the films as possible, thereby stacking his pancake-tower sometimes a bit too high, and perhaps losing some opportunities for closer looks at single incidents. The effective score is by Marco Beltrami ( Terminator 3: Rise of the Machines (2003)) and Marcus Trumpp ( Die Hard 4.0 (2007)).
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Gantz comes from American TV ( CSI: Crime Scene Investigation and many later shows) and a few films, ( Mindhunters (2004) and Assault on Precinct 13 (2005)), and he certainly knows how to shoot action and suspense scenes. The production by Thomas Langmann ( The Artist (2011)) is impeccable technically from period costumes to cars, localities, colors, the snappy editing and especially Robert Gantz' ( White Collar (2012-13)) photography, which is done with skill, vision and an abundance of energy and time, it seems. Though I approached this unusual, huge, French gangster epic with some hesitance, I was lured in fairly quickly by the performances of Depardieu and especially Vincent Cassel ( Ocean's Twelve (2004)), whose performance as the title lead in the two films is constant, incredibly intense and equally ruthless, a portrayal of a megalomaniacal, charismatic, brute macho psychopath. Both films are written by Abdel Raouf Dafri ( A Prophet/ Un Prophète (2009)), the first one based on Jacques Mesrin's autobiography L'Instinct de Mort. The third act revolves around the escape from this facility, and an unfortunate, following incident that causes Mesrine and partner to conclude that it's now either 'escape or die', as the first movie ends. Estranging his wife through violence, escaping to Canada, kidnapping and getting arrested in the US are some of the later plot points, before Mesrine and his partner are put in a high-security penitentiary. Later on back in France, Mesrine eagerly blames his parents and especially his father while ditching an honest job offer to be a murderous criminal for local gangster boss Guido (a convincing Gerard Deperdieu ( United Passions (2014))). Jacques Mesrine is shown as a cynical killer from the first scene from his time in the Algerian War, perhaps the last of the decolonization wars. Vincent Cassel is the persuasive front man for Jean-François Richet's Mesrine double feature Part I: Mesrine: Killer Instinct/ Mesrine: L'Instinct de Mort This is the true story of French gangster Jacques Mesrine's life from his time in the Foreign Legion in the Algerian War in 1959 up until his violent death in 1979. Following are reviews of the two-part movie Mesrine, known individually as Killer Instinct and Public Enemy No.