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Truly Dreadful Film

Sick Product of a Sick System

It's no definitive masterpiece but it's damn close.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

La Question Humaine (or Heartbeat Detector -English Title) is a sophisticated film which draws history into the present day consciousness.Dealing with the lingering reality of the Holocaust in present day French business the film thankfully doesn't openly place blame or accusation. Instead it forms an ambiguous critique of modern day business and lifestyle which subtly starts to form into a comparison with how the Nazi party operated.Whilst this may sound like a drastic comparison to make, the film deals with it very well. Drawing on language and structure the film tries to open a discussion about how something like the Holocaust can be sanctioned by 'civilised' society.Whilst dealing very well with these questions the film does to some extent negate certain further character development - I wanted more of the new employee. Apart from this i found it to be an intense and thought provoking film which deals with history and the Holocaust in a mature and interesting way.Strongly Recommeded.

I start by saying how sorry I feel for the Director, Nicolas Klotz. His name is the German cognate of "block" or "lump" and like his name that's what he delivers - a lump of celluloid intent on blocking any aspirations to aesthetic of philosophical appeal. It is distasteful to the highest magnitude. The comments by fellow reviewer greenforest56 from San Francisco are a good summary on this horrid film, in particular Greenforest's first lines.By now I should have learnt my lesson with French films and the pretencions of music e.g. "Un Coeur en Hiver (A Heart in Winter)" For reasons only known to Napoleon they just can't pull it off. It seems as if the pretend auteurs need to inject some music to give their films a stamp of Gallic approval.Watching the film and the making of was sheer torture - for reasons given by others. I'm not sure it could be improved but if it could the first thing to vanish would be the boring and annoying long takes. What was the idea of the over long take at the rave party? The director said he wanted it shown in a documentary style. But why? And what was the long shot of the railway line? Was it supposed to be a very sick subliminal metaphor for the track leading to Auschwitz? Maybe it was quite simply pathetic editing? Klot's analogy or metaphor of modern day techno-fascism in comparison with the Gestapo beggars belief. What on earth was Elisabeth Perceval thinking of when she wrote this drivel? The comparison between illegal immigrants trying to access Europe and the Gestapo gassing trucks is truly bizarre. No matter that she talks about the technology used today to detect the sound of a heartbeat by immigrants hiding in trucks(hence the title) but to compare it with the technology devised by the Nazis to kill millions requires either a few bottles of wine or a perverse course on left bank Marxist tripe.It's only when one analyses each of the themes that it falls apart like a cheap dress.It was such a shame to see that fine actor Mathieu Amalric put his name to this truly awful film.Lastly. This will be a film that the arty critics and teachers at film schools will simply adore. They will be able to talk and write forever on all the nuances, depth, texture and Mis En Scene. Avoid them and the film at all costs!Points Minus 9.5. It would have been 10 but I always make an allowance for those who write the end credits.

This is a truly awful film, devoid of any redeeming features.Throughout the film you are left wondering what is happening and more importantly why. Characters and scenes just appear with no context to the main story which is at best half baked.It is overlong - nearly 2 and half hours and in desperate need of a good editor who can trim it down and a good writer who can explain what the story is really about and...--SPOILER ALERT-- give it an ending, as it just fades away without wrapping any of the story up.Some may say this is intentional but it smacks of poor writing, editing and directing.

In this complicated philosophical thriller and meditation on modern varieties of evil, Simon Kessler (Matthieu Amalric), who narrates (echoing the source book by François Emmanuel), is a corporate psychologist working in the "human resources" department of the French branch of SC Farb, a German petrochemical company. A high-ranking official, Karl Rose (Jean-Pierre Kalfon), assigns Kessler the delicate task of investigating the mental state of company CEO Matthias Just (Michael Lonsdale). Kessler meets Just on the pretense of working up a plan for employee musical groups; years ago Just himself was part of a string quartet made up of staff members. (At 77 Lonsdale is still impressive, immense; to see him and the brilliant Amalric, 43, play off one another is worth the price of admission.) Just appears to be coming apart, yet he seems tired rather than crazy, and there is nothing specific. But what Kessler discovers, in Just, in the company, in the past of some of the employees, and in himself, leads him to come apart himself.This is a cold, dark-suited world inhabited by expressionless but dangerous men and women who smile, but bite back. The cinematography is of a chilly beauty. Music is a powerful thematic element. Schubert is associated with Matthias Just. American-educated French musician Syd Matters composed for the film. To unwind, Kessler and colleagues go to raves and, dance wildly to techno, and come unglued. The strobe lights' flashing seems a metaphor for the dirty secrets peeking out of hiding. Music torments Monsieur Just. He has never recovered from the death of a child and he comes unglued listening to an old tape of the company quartet playing Schubert's 'Death and the Maiden' when Kessler visits his house. The calm of classical music seems false. Some of its master composers come from the land of the Nazis.Despite the cute English title, in French this film is called 'La question humaine,' 'The Human Question.' Klotz, whose partner Elizabeth Persival collaborated on the adaptation, is working in the same mode of Claire Denis in The Intruder/L'Intrus and Arnaud des Pallieres in 'Adieu,' films that focus up close on highly culpable individuals but consider vast social issues and historical wrongs which they explore in challengingly fractured ways but in a language that is visually and aurally rich. Denis' "hero" was associated with various illegalities, including illegal organ sales. Adieu considers questionable business practices and the repression of immigrants. Heartbeat Detector gestures meaningfully toward apparently French executives' relationship with the Shoah.A little over halfway through the film Just delivers his bombshell to Kessler. First he points out that he knows Karl Rose (not his real name; it was Kraus) is having him investigated. He points out that in the recent company overhaul that eliminated over half the employees, Kessler played a big role in deciding who was to be axed. Then he explains Rose/Kraus's actual origins.Letters and papers begin to be passed back and forth. Some of them are in the hands of Just, recuperating from a dubious "suicide" attempt. There is a close examination of a German "shipment" whose passengers never survived in which someone's father was closely involved. The euphemisms of Nazi extermination where people are "pieces" or "units" seem not so far from the language of corporate "restructuring." Has the mentality of the Third Reich reformatted itself in western European industrial society? As Kessler comes apart, he loses his protective jargon. His "investigation" which Just called "une machination" (a plot) organized by Karl Rose, has turned into a probing of the human condition and the tentacles of the twenty-first century have been traced back into the middle of the twentieth.At its best 'Heartbeat Detector'/'La question humaine,' which is a little long, is as challenging and haunting as L'Intrus and Adieu and even more powerful and contemporary. At certain moments it seems to be lecturing us, but it also finds time to be fractured and funny.Presented as part of the Rendez-Vous with French Cinema at Lincoln Center, New York, February 29-March 9, 2008. US distributor: New Yorker Films.