Profession: beautiful soul! The public shuns the latest films of the star, ex of Sandrine Kiberlain, Claude Chirac and Caroline of Monaco, promoter of the “Jean Valjean tax”. This is because over time, the actor has locked himself into roles and films where morality competes with political correctness.
French cinema continues to sink. Too many films, too much moralizing, too much propaganda diluted in mediocre scenarios inevitably leading to insipid productions. Result: the number of entries collapses – but public money continues to line the pockets of producers, directors and actors who are most often content to meet the specifications of the CNC, public broadcasting, ministries, departments and regions, inexhaustible sources of funding and promoters of woke, immigrationist and diversity propaganda.
Films with big messages
Among the actors, Vincent Lindon has particularly stood out in recent years. As he perfectly masters his art, producers and directors have placed great hopes in him. They hoped to attract audiences who shunned films with big messages. It worked once, with Welcome. Over the years, even this accomplished and recognized actor has no longer managed to deceive spectators expecting something else from French cinema and preferring, for the most cinephiles among them, to rediscover the great films which have made his reputation – the beautiful ones. restorations of Coin de Mire, Gaumont or Pathé allow you to see these wonders again in magnificent conditions. A look back at the activist journey of this actor who never ceases to show his greatness of soul to all passers-by.
2009. In WelcomeVincent Lindon, alias Simon, helps a young Kurdish migrant wishing to swim across the Channel, and thus hopes to win back his wife, Marion, an activist in an association helping undocumented immigrants. The film, directed by Philippe Lioret, attracted 1,205,000 spectators. It must be recognized that Philippe Lioret is a talented director. All our desires et The Son of John are beautiful films that did not have the success they deserved. With Welcomewe were only at the very beginning of a long series of propaganda films on immigration, happy diversity or the idyllic living together in neighborhoods that we call difficult to avoid saying unlivable. These films, increasingly imbued with woke or diverse ideology, will see the number of their spectators collapse over the years, not without having benefited from the public financing system mentioned above.
2015. In The White KnightsVincent Lindon plays the role of president of a humanitarian NGO who, to satisfy requests for adoption from French families, organizes a complicated operation to bring back to France 300 orphans from an African country at war. Despite this attractive subject, the criticism of Telerama is so circumspect – “ The director Joachim Lafosse hasdecided to focus less on action than on reflection. Dangerous bet, not completely successful, but bold and intriguing » – that spectators are reluctant: only 196,000 will go to see this film, although it is full “ emotion and accuracy », according to the Franceinfo Culture review.
2021. Vincent Lindon, as a muscular firefighter on steroids, gets completely lost in a film “ fiercely feminist » (Humanity) Who ” destroys the male gaze to better explore human identity » (Widescreen), therefore radically woke. The stew of Julia Ducourneau, Titaniumwon the Palme d’Or at the Cannes Film Festival and, in the process, picked up a mega-commercial haul: 300,000 entries only. [Pour info, Parasite, l’excellent film du réalisateur sud-coréen Bong Joon Ho, Palme d’or lors de l’édition précédente, a été vu par… 1 900 000 spectateurs français].
2024. In the film by Nicolas Boukhrief, Like a sonVincent Lindon is Jacques Romand, a depressed and disillusioned professor. He witnesses an attack in a grocery store and allows the arrest of one of the thieves, Victor, a 14-year-old teenager. Moved by the situation of this young Roma, Vincent/Jacques decides to help him find the right path. “ The film sensitively addresses the question of mourning, filiation and transmission, with a backera the social question of the reception of the Roma, their living conditions, the violence which is sometimes exercised on children, treated here with accuracy, without caricature, and without pathos », writes, enthusiastically, the critic of Franceinfo Culture. The first spectators are deeply bored and want to let it be known on the AlloCiné website: “ Film dripping with good feelings » ; « We yawn with boredom in front of a Vincent Lindon enjoying wearing the costume ofa role that is now familiar to him: that of the white male of âmature age who at the same time carries on his shoulders the weight of the guilt of our systemth unjust, capitalist, postcolonial, refuses to let itself be crushed and draws on the strengths that remain to it the spring of‘a fair passera. » Result: a flop. 121,000 entries only.
-An upcoming documentary on arte
2025. From January 22, we will be able to see Vincent Lindon in the role of a railway worker, widower and father of two boys, one of whom is attracted to a… small far-right group. On France Inter, Sonia Devillers received the actor to talk about the Coulin sisters’ film, Play with fire. Together, they talked about this “ youth who sink into rejection of others » by succeeding in summoning to the dock only those who would end up in the arms of the radicalized far right “ shaved head and Celtic cross style “. However, the probability of seeing the son of a worker attracted by a small racist and violent group of the extreme right is today infinitely lower than that of seeing the son of well-off bobos fall into the intolerant, furiously woke, decolonialist extreme left or anti-Semitic. The radicalization of a certain youth enrolled in progressive or ecological associations and far-left political movements is on a completely different level, both in quantity and in terms of aggressiveness and violence, than that concerning the rare young people ending up in small far-right groups – for whom I have no sympathy, I am obliged to point out. Would Vincent Lindon agree to play the role of a senior socialist executive or a Mélenchonist teacher whose son finds himself in a small, hyper-violent far-left group, like La Jeune Garde Lyonnaise, or within a union? of far-left teachers advocating organizing “single-mix” racist meetings (without whites), or in a far-left environmental association ready to do anything to see its project succeed totalitarian, or in the ranks of an “anti-Zionist” far-left political movement? His talent as an actor no longer needs to be demonstrated, he would find there a role suited to him and the means to broaden his palette by artistically reflecting a reality which seems to escape him…
After films about nice migrants blithely crossing our borders or bad French people drifting miserably towards the far right, should we expect an avalanche of films or series “revisiting” classic works in order to highlight this part of humanity which has lived since the dawn of time under the yoke of patriarchy and male domination, as Laure Adler would say? On January 22, a film entitled All for one. Synopsis : « When Sara, a young girl on the run, discovers that the Three Musketeers who protect the Queen of France are in reality women, she decides to leave with them and follow their example: transform herself to be free, transform herself to be herself… » It makes you want it, right? Later in the year, TF1 will offer a series in which producer and actress Audrey Fleurot will be… The Comtesse de Monte Cristo. Should we fear a new adaptation of Misérables with Jeanne Valjean confronted with Thénardières and the formidable Javerte? Yes, maybe, one day, but not right away… a new adaptation, faithful to Victor Hugo’s novel, must first arrive in cinemas at the end of 2025. And guess who will play the role of Jean Valjean. Vincent Lindon, of course [1]. Before that, the actor “ will be revealed in a documentary in his image, a fascinating portrait in the form of introspection on the profession of actor and celebrity, his anguished inner life, his memories of an unloved child », We are warned on the Arte website. I fear the worst. And I affirm that, in this area too, it was better before. The proof: on Madelen, the INA archives site, it is possible to see and rewatch, among other exciting things, the show The sacred monsters bringing together extracts from interviews with Michel Simon, Arletty, Pierre Brasseur, Fernandel, Bourvil (joyfully interviewed, while he is in treatment in Contrexéville, under a jet of spring water or during a massage session), Michèle Morgan, Jean Gabin, Lino Ventura (risky interview: the journalist interrupts the actor devouring a plate of charcuterie on the bar of a bistro), Danielle Darrieux, etc. What a pleasure to listen to these renowned artists recount simply, sometimes with humor, often with modesty, without ever taking themselves seriously, a memory, a decisive meeting, a filming anecdote, a scene from life, without feeling obliged to give would it be just a lesson in morality or politics. But that was before [2].
[1] In 2020, in the midst of a health crisis, Vincent Lindon proposed that the richest of our compatriots make an exceptional contribution to the recovery of the French economy and the fight against inequalities by paying a new tax called the “Jean Valjean tax”.
[2] In an interview given recently to the Public Sénate channel, actor Jean-Pierre Daroussin managed to condense all the stupid morality of left-wing artists into a single sentence: “ The left tends to seek a morality, an ethics of connection, to consider that a society should not be made of what separates us but must be made of what connects us, and therefore to seek ideas and not reject the other. » After hearing that, just to disinfect my ears, I listened to Jean Rochefort again on the show With a bare voice podcastable on France Culture. Pure happiness.
