Not for, or Against (Quite the Contrary) (2003) User Reviews (9)

I'm not for and I'm not against Cédric Klapisch's first try at film noir

[dbdumonteil · 6/10 · 24 February 2005]

The golden age of the film noir in French cinema was in the forties and fifties with two unforgettable names: Julien Duvivier and Henri-Georges Clouzot who have left films noir of first quality. Then, the high level persisted with Claude Chabrol in the late sixties. But nowadays, this cinematographic genre survives mainly by ripping off the models of American cinema. Here, with Cédric Klapisch in charge of this "ni pour ni contre (bien au contraire)" (2003), we can expect to a glimmer of hope to lend the film noir its credibility again.

We are a little surprised to find this terrific film-maker, a specialist of social comedies, trying his hand at a genre he has never broached. I'm a huge fan of his cinema, but here I can't make up my mind whether this first foray into an unknown domain was beneficial for him. It left me an impression of mixed although Klapisch's cinematographic writing is as good as usual. I will try to develop my own point of view about this film.

Firstly, Klapisch has always been fond of films noir and "ni pour ni contre (bien au contraire)" was a project which was close to his heart and it nearly never saw the light of day (he had written the first part of the film and then left it high and dry because he had difficulties to write the sequel. In the meantime, not to stay inactive, he decided to make "l'auberge espagnole" (2002) and after that took back "ni pour ni contre..." and managed to finish it). It is quite easy to detect Klapisch's major influences in his work: "Goodfellas" (1990) by Martin Scorsese, "Asphalt Jungle" (1949) by John Huston and Jean Pierre Melville's cinema.

Cédric Klapisch's film is divided in two quite patchy parts. Let's begin with the first part: it is quite decent although it is not free from shortcomings. One one hand, there's humor which enables to make less alarming the seriousness of certain situations and on the other hand, the film gets off to a good start with a conclusive introduction about the main characters in their respective social backgrounds. It's also a pleasure to see the director taking out again weapons he wonderfully masters such as the suggestion and what is left unsaid (concerning the character Katy, we can feel that she's quite unhappy in her life just by looking her dull face and by the way, Marie Gillain has never been so beautiful in this film). Then, Klapisch still handles in a clever way his camera: to emphasize on the fact that Katy feels very lonely in her life, the camera leaves from her face and stops in front of the building in which she lives. As for the gang, it avoids as much as possible caricature. The director makes a both funny and dangerous portrait. Of all the members, Zinedine Soualem plays best his game. You have to see him giving lessons of dancing. Nevertheless, the gang's life is partly based on stereotypes, notably when they wallow in money and easy life.

But things go wrong in the second part when the movie tells the careful preparations of the stickup and the quite violent consequences of the operation. From here onwards, the director wants to be more serious, more suspenseful and it brings about both a quite rough changing of tone, a serious lack of cohesion with the rest and it harms the unity of the film as a whole. Let's also regret an alternate editing of quite bad taste. It's a shame because it is in this second part that the most representative elements of the film noir are exploited: nocturnal scenes, disturbing scenery, sticky atmosphere. And the end is successful because it is immoral. It also echoes one sequence of the beginning of the film when Katy scratches a "Banco" card.

In the end, we've got a courageous but rather failed attempt from Klapisch to renew the film noir. That said, if take on account the fact that the real good French films noir become very rare, "ni pour ni contre (bien au contraire)" deserves indulgence in spite of the slight disappointment we can feel at the end the projection. As for Cédric Klapisch, let's hope he will make up for it with the sequel of "l'auberge espagnole", "les poupées russes" which will be released in June 2005.

Nothing for, nothing against

[burrobaggy · 5/10 · 27 June 2004]

Bit of a disappointment really - after a good start in Goodfellas mode (where the anti-hero's life of crime is linked to his love of good shoes) and an initially mildly intriguing set-up that never pays off, the film just gradually flat lines. It isn't terrible, but it isn't particularly good. Performances are fine but not outstanding and the plot ticks along on the usual robbery goes wrong lines without ever threatening any surprises. The biggest surprise is a bit part for Diane Kruger as a hooker, much more attractive here than in Troy.

The one thing which does impress is Klapisch's Scope framing. This is a man who really knows how to fill the wide, wide screen, and he throws in the greatest shot of Cannes' Carlton Hotel ever. It's just a shame that the script never rises to the level of visual invention.

Air In The Gaite

[writers_reign · 7/10 · 26 November 2012]

I've never really been completely sold on Cedric Klapish and L'Aubage Espanol was a major disappointment, on the other hand I've always like Marie Gillain and polars so a combination of the two had to be worth a couple of hours of my time. You need to get past the initial premise that a violent petty criminal needs a professional camera operator to record a heist and that he finds one so easily in the shape of Marie Gillain who offers only token resistance and quickly abandons any search for a moral compass she may have been engaged in and is happy to become absorbed by the 'gang'. There's a half-hearted attempt to portray a couple of the older members as more or less part-time hoods - one is a choreographer, one a restaurateur but it is, of course, leading inexorably toward the 'big' caper that will end in tears though Klapish tempers this with a twist that would never have been allowed back in the day. Watchable but only once.

Just excellent; the best Noir film in many years

[abisio · 7 December 2003]

The title of this magnificent film from Kaplish; refers to a timid young country girl that helps a group of gangster in a heist in Paris (France) in order to get some money. She immediately becomes the gang's mascot and starts enjoying the luxuries and commodities of the easy life.

However, when the gang runs out of money, she is offered to participate in an ambitious job so dangerous, she refuses and resorts to small robberies alone to make money. After a while, the risk grows higher, and realizing that she can't keep going alone, decides return to the gang and participates in the big plan for a big sum of money.

Of course, things do not go as expected and the aftermath is violence, death and betrayal.

After `The Spanish Inn' a social comedy/satire about the new Europe and its different cultural clashes; I never expected, Cedric Klapish (the director) could deliver such a perfectly timed thriller . The first third of the movie is an almost romantic criminal caper, that emotionally involves the spectators with the gangsters and the girl. This perfectly generates a big tension and suspense on the second third (the big heist); but, to my (and others people) surprise, on the third part characters become un-masked and any romantic or sympathetic feeling get lost in a spiral of betrayal and violence.

Marie Gillian; with her innocent face is absolutely credible as the innocent heroine that grows to become cold and ambitious criminal. The same could be said of Vincent Elbaz as the gallant gang boss and the rest of the cast.

The movie ends in a very politically incorrect way (this is a French movie), but you will be very satisfied.

An unexpected end for a very good film noir

[JulietteBBK · 8/10 · 25 February 2007]

This is the story of an ordinary young camerawoman who lives a boring life in Paris. She happens to meet a band of gangsters she becomes friend with and starts living their life between hold-ups, sex and money. Marie Gillain is very touching in that role where she managed to be thrilled by this exciting and dangerous life and at the same time not affected at all by the criminal nature of her acts. This movie could have just been another gangster story and this is exactly where you're being tricked into a totally different outcome. Very simple and even maybe a little bit silly, her role as a gangster is interesting and well played. The more you watch the more you start wondering why she is doing all that for and who she truly is. A stunning movie on a subject difficult to deal with if you don't want to be too cliché. A must see

Far from 'noir'

[m_ats · 4/10 · 17 April 2006]

Not at all a film noir, Klapisch's "Ni pour ni contre" is a run off-the-mill "heist", "coup du siècle" movie, with no original standpoint. The story is a poor justification for a series of beautifully filmed, very bright, colorful and sunny photographic scenes that parallel the aesthetics of this "more than perfect" gang, their associates and their "Appat" film heroine.

There is no justification for the use of a camera in the first "coup" scène, other than the set up of how this very particular innocent girl is being recruited by this band of criminals. Other incoherent sequences appear through the movie that one doesn't get to criticize for fear of sounding too realistic nowadays. Contrarily to other heist movies, nothing goes unusually wrong after the robbery to justify the mess up that ensues.

The attempts at building a camaraderie between the gangsters also falls short and shows clearly that too many people were involved writing this movie.

All and all, this movie is Klepisch's take at a genre he never tried before (american crime movies, not film noirs by any means, and surely not thrillers or polars), and he succeeds less-than-averagely.

Tour de Force for a comedy specialist

[searchanddestroy-1 · 9/10 · 20 June 2020]

It has already been told before, but the director Cedric Kaplish is delinitely a comedy film maker, a pretty good one, and certainly not a crime flick specialist; nothing to do with Olivier Marchal for instance. But here, I was amazed, stunned, jaw dropped after the watching of this gritty French film, where Kaplish did not dropped everything from his own style, but where there is a slight touch of Jean Pierre Melville. Just remember the two US directors Richard Quine and Blake Edwards, both comedy specialists, and among the best, both gave us tremendous film noirs: PUSHOVER for Quine and EXPERIMENT IN TERROR for Edwards. Don't miss the very last second of the movie, and Marie Gillain's face and glance. It means so many unsaid things, so many....

Klapisch ventures in a genre he does not master

[stardust314116 · 4/10 · 22 December 2021]

Cédric Klapish is one of my favorite director. I like when he writes about the themes he is the best at such as individual vs. Group identity, family stories, etc.

I am not sure what he tried to do here. A bad comedy or a botched thriller. Either way the characters are shallow and disoriented. Still some good acting (M Gillain, Z Soualem).

The Klapisch Touch !

[Slash67 · 9/10 · 5 March 2003]

Ni Pour, Ni Contre is a very good film noir, witch combines agreeably well, humour, suspense and drama. The Klapisch Touch is there, but it's also in a kind completely different for what we knew him before, like Chacun Cherche son Chat, or L'Auberge Espagnole. For example, the last scene of break-in is so intense, that I was really afraid for the characters. Some movies do not leave you any impressions, but with Klapisch, the emotions and the feelings seizes the spectator.

Side of the distribution, the actors are great, especially Vincent Elbaz, who is great and credible, Zinedine Soualem, who try to stay in the right side, and Marie Gillain at the same time strong and fragile who can be seen in a quasi similar role in L'Appat directed by Bertrand Tavernier.

A really good Polar, a must see movie...