It's one matter to read about the film, and one readily picks up a sense of a much more intense and violent predecessor of Chris Columbus' 'Home alone.' To sit and watch, one quickly sees that it's a wild creation all its own, with very different sensibilities from its more well known Hollywood derivative. Outlandish as it may present, this is not a comedy, and young protagonist Thomas - action flick aficionado, tech genius and mechanical tinkerer, precocious and spirited wearer of a mullet - makes Kevin McCallister look like a milquetoast set piece. The antagonist, identified only as Le Père Noël (you know, Santa Claus), is not granted the cartoonish invincibility and exaggerated reactions, or wry, mischievous humor, that the "Wet Bandits" would be in the subsequent feature, and this movie unabashedly carries itself with earnest horror-thriller vibes to adjoin the more far-fetched foundation of the protagonist and setting. '3615 code Père Noël' is a somewhat curious amalgamation, but darn if it isn't well made and entertaining - and when all is said and done, way more than I'd have ever supposed.
In his writing and direction alike filmmaker René Manzor whipped a biting little picture that's as decidedly dark as it is imaginative, and most every facet reflects the same grim whimsy. The narrative and scene writing give us a tale that's increasingly suspenseful and thrilling as the violence and stakes escalate, with plentiful situations concocted as groundwork for the cast and crew to let their creativity run wild. The sets and props are fantastic and heavily detailed; alongside Manzor's spectacular orchestration of shots and scenes - that is, given to a mind for spectacle - and Michel Gaffier's active, dynamic cinematography, the title bears a fanciful quality that obliquely reminds of the colorful inventiveness of 'A nightmare on Elm Street' and its (first two, or maybe three) sequels. We're greeted with abundant stunts and effects, and they look terrific across the board. The cast are unexpectedly superb; young Alan Lalanne gives a stronger performance of range and emotion as Thomas than some adults have in similar roles, and Patrick Floersheim's portrayal of Le Père Noël cements the stark, single-minded brutality and nefariousness of the villain. Jean-Félix Lalanne's original music is most welcome as it lends tension, atmosphere, and flavor to the proceedings, and it wouldn't be out of place in a more straightforward, even more violent genre piece. Even Christine Pansu's editing is notably smart, and integral to crafting a genre romp that lands as solidly as '3615 code Père Noël' does.
Outrageous as this may be in some capacities, it's flush with considerable ingenuity, and there's no disputing the skill, intelligence, and hard work that went into it. I spotlighted Lalanne and Floersheim, and they are certainly most prominent, but the supporting cast is just as swell in their smaller roles, including Louis Ducreux as the harried grandfather, and Brigitte Fossey as mother Julie. There came a point where I wondered how the film was going to be drawn out to a full ninety minutes - but first of all, the length flies by very quickly for how absorbing and enjoyable it is, and secondly, to Manzor's great credit, the plot does meaningfully extend through that whole runtime. Why, it's even more well-rounded than I'd have guessed sights unseen, with significant variety. Thriller airs of both action and horror may dominate, with some moments that would be right at home in a title with major musclebound stars, but there's an undeniable fantastical quality to it all befitting the holiday setting. Beyond these we're further treated to notes of wry comedy, tragedy, the "coming of age" tale, and for good measure, an original Christmas song performed by Bonnie Tyler! Truth be told I assumed I'd like '3615 code Père Noël,' yet as the minutes tick by, as the action violence heats up, and as one clever, enticing sequence after another keeps us locked in, I came to love the movie more and more. Moreover, as the last minutes so capably turn a corner and embrace still more moods with just as much impact and gravitas, I can't help but be impressed with just how fabulously robust, satisfying, and even rewarding it all is.
I'm unsure if I'd go so far as to say that it entirely demands viewership, and if one isn't on board with one element or another of what it represents, it won't appeal to all comers. I'm so incredibly pleased with just how good the feature turned out to be, however, ultimately so much better than I could have hoped when I first learned about it. If one is open to the premise, and the violence is no obstacle, then I really do think '3615 code Père Noël' is an outstanding romp that deserves far more recognition. Columbus' family-friendly copycat of 1990 may have the bigger claim to fame and is by all means a classic in its own right, but Manzor's wonderfully far-out venture blends genres and feelings into something that's surprisingly complete, hard-hitting, and altogether riveting. I could scarcely be happier with just how heartily this strives for and achieves both rip-roaring fun and concrete substance, and I'm glad to give '3615 code Père Noël' my very high and enthusiastic recommendation!
In his writing and direction alike filmmaker René Manzor whipped a biting little picture that's as decidedly dark as it is imaginative, and most every facet reflects the same grim whimsy. The narrative and scene writing give us a tale that's increasingly suspenseful and thrilling as the violence and stakes escalate, with plentiful situations concocted as groundwork for the cast and crew to let their creativity run wild. The sets and props are fantastic and heavily detailed; alongside Manzor's spectacular orchestration of shots and scenes - that is, given to a mind for spectacle - and Michel Gaffier's active, dynamic cinematography, the title bears a fanciful quality that obliquely reminds of the colorful inventiveness of 'A nightmare on Elm Street' and its (first two, or maybe three) sequels. We're greeted with abundant stunts and effects, and they look terrific across the board. The cast are unexpectedly superb; young Alan Lalanne gives a stronger performance of range and emotion as Thomas than some adults have in similar roles, and Patrick Floersheim's portrayal of Le Père Noël cements the stark, single-minded brutality and nefariousness of the villain. Jean-Félix Lalanne's original music is most welcome as it lends tension, atmosphere, and flavor to the proceedings, and it wouldn't be out of place in a more straightforward, even more violent genre piece. Even Christine Pansu's editing is notably smart, and integral to crafting a genre romp that lands as solidly as '3615 code Père Noël' does.
Outrageous as this may be in some capacities, it's flush with considerable ingenuity, and there's no disputing the skill, intelligence, and hard work that went into it. I spotlighted Lalanne and Floersheim, and they are certainly most prominent, but the supporting cast is just as swell in their smaller roles, including Louis Ducreux as the harried grandfather, and Brigitte Fossey as mother Julie. There came a point where I wondered how the film was going to be drawn out to a full ninety minutes - but first of all, the length flies by very quickly for how absorbing and enjoyable it is, and secondly, to Manzor's great credit, the plot does meaningfully extend through that whole runtime. Why, it's even more well-rounded than I'd have guessed sights unseen, with significant variety. Thriller airs of both action and horror may dominate, with some moments that would be right at home in a title with major musclebound stars, but there's an undeniable fantastical quality to it all befitting the holiday setting. Beyond these we're further treated to notes of wry comedy, tragedy, the "coming of age" tale, and for good measure, an original Christmas song performed by Bonnie Tyler! Truth be told I assumed I'd like '3615 code Père Noël,' yet as the minutes tick by, as the action violence heats up, and as one clever, enticing sequence after another keeps us locked in, I came to love the movie more and more. Moreover, as the last minutes so capably turn a corner and embrace still more moods with just as much impact and gravitas, I can't help but be impressed with just how fabulously robust, satisfying, and even rewarding it all is.
I'm unsure if I'd go so far as to say that it entirely demands viewership, and if one isn't on board with one element or another of what it represents, it won't appeal to all comers. I'm so incredibly pleased with just how good the feature turned out to be, however, ultimately so much better than I could have hoped when I first learned about it. If one is open to the premise, and the violence is no obstacle, then I really do think '3615 code Père Noël' is an outstanding romp that deserves far more recognition. Columbus' family-friendly copycat of 1990 may have the bigger claim to fame and is by all means a classic in its own right, but Manzor's wonderfully far-out venture blends genres and feelings into something that's surprisingly complete, hard-hitting, and altogether riveting. I could scarcely be happier with just how heartily this strives for and achieves both rip-roaring fun and concrete substance, and I'm glad to give '3615 code Père Noël' my very high and enthusiastic recommendation!