Review: LA HAINE at La Seine Musicale

Nearly thirty years after its release, Mathieu Kassovitz's cult film, La Haine, makes a striking entrance onto the stage in a bold and moving updated adaptation that is more than your average musical; it is a total artistic experience, blending theater, music, dance, cinema, and new technologies with incredible power, much like Jamie Lloyd's re-imagining of Sunset Boulevard currently on Broadway. From the first few seconds, the viewer is plunged into the heart of a housing project on the outskirts of Paris (a banlieue, or “place of banishment”), becoming a helpless witness to the infernal spiral that carries away Vinz, Saïd, and Hubert. 

The staging, directed by Kassovitz himself in collaboration with the renowned Serge Denoncourt, is remarkably intelligent, amplifying and transcending the original film rather than simply reproducing it. Each scene is a visual shock, a tribute to the cinematographic force of the original work, while offering new perspectives on the characters and iconic scenes. This collaboration between Kassovitz, revisiting his own seminal work, and the experienced Denoncourt, known for his diverse and impactful productions, brings unique depth to the staging. 

The casting choices bring fresh energy to these iconic roles, with movie actor Alexander Ferrario (Tu mérites un amour) embodying Vinz with raw intensity, infusing the character (originally played by Vincent Cassel in his big movie breakthrough) with his own passion for rap. Samy Belkessa, discovered in recent French films (notably Anti-Squat), brings a poignant vulnerability to Saïd (played by Saïd Taghmaoui in the movie, also launching his movie career, especially in American cinema), connecting the character to a new generation, while Alivor, a seasoned rapper, lends Hubert a powerful presence and authenticity, seamlessly blending his musical talent with his acting.  Among the new contemporary characters is Vinz's girlfriend Leila, played by Camilah Halima-Filali, highlighting the experiences of women in the forgotten Parisian suburbs, especially in a spectacular flying sequence—the show's pièce de résistance—reminiscent of a scene from Lin Manuel's In The Heights movie adaption by Wicked director Jon M. Chu.

The contribution of music is masterful, transforming the relatively subdued original film soundtrack into a vibrant celebration of rap, a genre that was booming at the time and is now deeply anchored in French popular culture. The soundtrack, overseen by emblematic figures like Cut Killer and Proof, features contributions from leading figures of French rap from both yesterday and today. Dialogues intertwine with driving rhythms, and bodies move to the beats, creating a hypnotic synergy that elevates the narrative, with Proof as musical director and composer ensuring the music complements and enhances the story, giving it the feel of a real musical despite the absence of traditional book songs. 

The choreography by world-renowned breakdancer Yaman Okur and Emilie Capel, who has worked with international stars like Rihanna and Mariah Carey, is a true tour de force, capturing the raw energy of the street, the palpable tension between characters, and the rage and despair driving them. The movements are precise, powerful, and expressive, integrating perfectly into the narrative, much as in Broadway’s last revival of West Side Story and last year’s Tony-award winner The Outsiders, but leaning even more into contemporary dance than those productions. 

The artistic and technical team—with prestigious names like Martin Labrecque for the lighting, Silent Partners Studio (known for their work with the likes of Harry Styles and events such as the Super Bowl) for the set design and video content, and Nicolas Vaudelet for costumes—impressively contribute to the show’s striking visual universe, and Kathleen Gagnon as creative director and Marie-Christine Martel as assistant director also solidify the production's high caliber. 

Beyond technical and artistic prowess, it is the emotion that predominates. La Haine resonates with burning relevance, addressing themes of police brutality, social inequalities, and feelings of abandonment that have unfortunately lost none of their pertinence over the past thirty years. The show confronts us with our own societal demons, challenges us, and moves us deeply. 

La Haine: Jusqu'ici rien n'a changé (Hate: So Far Nothing Has Changed) is much more than a musical; it is a scenic masterpiece that will mark its time, just as the film did in its day. A cry from the heart and a call for reflection, this veritable cultural event is not just a must-see, it is a must-experience, either at its limited run at the Seine Musicale or on tour throughout France until November.

To post a comment, you must register and login.