The outline on the main page gives the guts of this story, apparently based upon a true-life event. Perhaps it was, but this story is as much a well-constructed thriller as it is a character study of various powerful people, particularly the victim of the kidnapping, Stan Graff (Yvan Attal) who is gradually revealed to be a thoroughly unpleasant business mogul, concerned only with his own self, his pleasures
and his dog.
In a quick series of opening vignettes, we see Stan at a hurried business lunch, thence to an apartment for a quick tryst with a woman (the clichéd lover every French male seems to have), then to a darkened room where he and others are playing poker, then to home to greet his wife and daughters, then to a solitary inner sanctum to be with his dog while he rests in solitary splendor.
The next morning, he is kidnapped, whisked away to a remote, rural location where he is held, blindfolded most of the time, and brutalized physically and mentally.
His wife, Francoise (Anne Consigny), at first is shown as a dutiful wife and mother; but, as the plot develops to reach the climax, she shows how little she truly cared about Stan's ordeal at the hands of kidnappers. Equally, Stan's daughters (played by Julie Kaye and Sarah Messens) show themselves to be more concerned with their mother or themselves.
Stan's business associates and so-called friends also bring similar attitudes to bear. When things get tough for them as they try to keep the company running, while Stan is held to ransom, the financial aspects of the company and its survival gradually predominate. Add to that mix are the revelations about Stan's infidelities and gambling debts that begin to surface in the press.
All in all, the film is therefore a study of what type of character lies beneath all the facades when emotions, needs and tensions run amok. Ironically, one of the most sympathetic characters is the kidnapper-in-charge – the only person who tries to make Stan's ordeal less terrifying that it could have been; although, it's terrifying enough for most viewers.
As expected, the production is classy, faultless, well-paced (although some will disagree), appropriately suspenseful and thoroughly entertaining. The scenes containing the police action, reaction, re-planning and shadowing of kidnappers attempting to pick up the ransom are riveting.
It's the ending, though, that will puzzle many, enrage others or, like myself, raise the possibility of an entirely different interpretation to the one that seems to be the case. Watching and listening carefully to what is done and said will reveal for you, I think, what truly happened. If you see the movie, you'll know what I mean.
Like Anthony Zimmer (2005), in which Yvan Attal also starred, Rapt is another excellent thriller with twists that match, and perhaps surpass the former. So, do yourself a favor and wrap your mind around Rapt. And let us all hope that neither Hollywood nor others try to produce another take.
Give this a nine for sure.
June 7, 2012
In a quick series of opening vignettes, we see Stan at a hurried business lunch, thence to an apartment for a quick tryst with a woman (the clichéd lover every French male seems to have), then to a darkened room where he and others are playing poker, then to home to greet his wife and daughters, then to a solitary inner sanctum to be with his dog while he rests in solitary splendor.
The next morning, he is kidnapped, whisked away to a remote, rural location where he is held, blindfolded most of the time, and brutalized physically and mentally.
His wife, Francoise (Anne Consigny), at first is shown as a dutiful wife and mother; but, as the plot develops to reach the climax, she shows how little she truly cared about Stan's ordeal at the hands of kidnappers. Equally, Stan's daughters (played by Julie Kaye and Sarah Messens) show themselves to be more concerned with their mother or themselves.
Stan's business associates and so-called friends also bring similar attitudes to bear. When things get tough for them as they try to keep the company running, while Stan is held to ransom, the financial aspects of the company and its survival gradually predominate. Add to that mix are the revelations about Stan's infidelities and gambling debts that begin to surface in the press.
All in all, the film is therefore a study of what type of character lies beneath all the facades when emotions, needs and tensions run amok. Ironically, one of the most sympathetic characters is the kidnapper-in-charge – the only person who tries to make Stan's ordeal less terrifying that it could have been; although, it's terrifying enough for most viewers.
As expected, the production is classy, faultless, well-paced (although some will disagree), appropriately suspenseful and thoroughly entertaining. The scenes containing the police action, reaction, re-planning and shadowing of kidnappers attempting to pick up the ransom are riveting.
It's the ending, though, that will puzzle many, enrage others or, like myself, raise the possibility of an entirely different interpretation to the one that seems to be the case. Watching and listening carefully to what is done and said will reveal for you, I think, what truly happened. If you see the movie, you'll know what I mean.
Like Anthony Zimmer (2005), in which Yvan Attal also starred, Rapt is another excellent thriller with twists that match, and perhaps surpass the former. So, do yourself a favor and wrap your mind around Rapt. And let us all hope that neither Hollywood nor others try to produce another take.
Give this a nine for sure.
June 7, 2012