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Review of ‘The King of Algeria’: A Friendship Forged in Crime
Israa Radaydeh, Jordan News
last updated:
Aug 17,2023
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“The King of Algeria” Omar la Fraise, a dark, hilarious and
speedy comedy, Elias Belkeddar follows the run of two thugs in limbo Omar (Reda
Kateb) and Roger (Benoît Magimel)اضافة اعلان
These two crime lords were kings in Paris. Thieves respected
beyond French borders, including their homeland of Algeria. After a turbulent
and bloody transaction, which they narrowly survive, the bandits find
themselves stuck in a huge villa in the Algerian countryside. Two leather sofas
and a gigantic TV struggle to fill the voids in the property, and the film’s
protagonists.
The film will be screened as part of the AIFF, at 6 pm,
Friday, August 19, in Taj Cinema.
With “The King of Algeria”, Elias Belkeddar draws a portrait
of an Algerian gangster, showing the paradoxes, and duality of such an
individual. While the film draws on much of the gangster film canon, its unique
setting and characters give it a unique feel, and many unique moments.
His film becomes unclassifiable. The ruthless mingles with
laughter, serious criminality mingles with the derisory of routine, romance
invites itself into violence, flamboyance confronts the twilight, whimsical
poetry nestles in cruelty. This is not just a gangster film, and does not
follow the usual trope of ‘started from the bottom’, we see them after their
fall, trying to lethargically live ordinary, retired, and bored lives. The
virtuosity with which all this is mixed is the film’s most seductive feature.
Just like the characters it portrays, the singularity of the film lies in this
in-between position that it occupies.
The gangster film In terms of its crime inspirations “The King of Algeria”
could be a Tarantino but without breaking the fourth wall, it could be Guy
Ritchie but without the wacky.
The King of Algieria sets the tone from the opening credits.
The stab wounds are numerous and come to bloody white shirts, while a cinder
block is heavily crushed on a face. A massacre that Omar and Roger watch from
afar, and from above, with detachment and nonchalantly advancing through the
alleys before recovering their coveted package with just as much relaxation.
Heir to Scarface, Goodfellas, and The World is Yours,
Belkeddar manages to find his own voice in the vast landscape of gangster
films. A voice full of humanity in all its beauty and awfulness alike. While
most gangster films keep away from themes of beauty, fearing the way such
themes might interact with the predominance of crime and filth in the film, the
largest crimes are in the past in this picture. The film’s position in
liminality means it does not fear such beauty, it also maintains distance from
the dominant crimes geographically, as these two characters were criminals in
France, here in Algeria a much more personal story is being told.
The buddy film: Kateb and Magimel’s jubilance Omar and Roger are best friends, almost brothers, and the
two characters are bored, and hence always looking for fun, much of which we
are given the privilege of seeing. And this fun is where Kateb and Magimel
shine as actors, it radiates, and you can tell they are enjoying the seen just
as their characters are. But while Omar has no trouble acclimatizing and sets
up his little tricks and hustles to happily occupy himself, Roger wanders and
gets bored.
Elias Belkeddar offers scenes that are alternately aerial,
where photography magnifies the landscapes, then becomes brutal as soon as the
two bandits let loose in a nightclub. In both cases, all these moments only
serve to describe their passionate relationship and their loyalty, as well as
the duality of their positions. King of Algeria is filmed with a style that
could be described as poseur but which fits perfectly with the over the top
protagonists.
A romance film: Meriem Amiar the heroBut a point comes when Omar has to find an occupation,
"a clean business" to move forward. He therefore accepts the position
of associate manager of a pastry factory. During this job he will reveal his
more childish temperament and meet Samia (Meriem Amiar) with whom he falls in
love. Their complicity and their romance represent both a thinning and an
unexpected way out for the anti-hero, and is above all at the origin of some of
the most beautiful scenes of the feature film, Meriem Amiar stealing the show
from her two partners and even succeeding in eclipsing Benoît Magimel, however
monstrous.
Samia gives a conscience to a big child for whom crime has
always paid. But Bekdar expertly navigates the archetype of the innocent woman,
saving the guilty man. This is largely done through the nuance of the
character’s writing and the actor’s performance, but also through her equally
lively relationship with Omar’s best friend Roger. The trio is flamboyant but
deeply endearing, allowing the film to add complexity to its romance. The
moments when all three are united are brief but defining scenes, where the
feelings of freedom that the two gangsters have always sought reach their
climax. Inevitably, after their arrival at the summit comes the descent.
The endElias Belkeddar mixes up all his ideas and delivers a sort
of tragicomedy between bitterness, tarnished radiance, and quirky fun. With a
buddy movie look approach to these two thugs united from their heyday in Paris
to their new idle existence of exiles in Algeria.
Something earthy emerges from the new adventures of these
two accomplices now living off of small schemes. Serious criminals do tricks to
raise money, but when it comes to taking advantage of it, they get bored and
miss their past lives. Retirement suits them very badly, just as their huge
shack with a swimming pool in the sun. A duo of terribly endearing characters,
just as endearing as the two complementary actors who play them jubilantly. A
film that depicts a happiness in the heart of Algeria, and superbly filmed with
authenticity.