Réalisation:
Nicolas Winding RefnScénario:
Nicolas Winding RefnPhotographie:
Morten SøborgMusique:
Peter PeterActeurs·trices:
Mads Mikkelsen, Kurt Nielsen, Leif Sylvester, Zlatko Burić, Ilyas Agac, Øyvind Hagen-Traberg, Maria Erwolter, Hüseyin Turan, Camilla Ramonn (plus)Résumés(1)
Tonny, un petit criminel de Copenhague, sort de prison et retourne au garage qui sert de couverture à Smeden, son père dit “Le Duc”, qui règne avec brutalité sur un gang. Pour montrer sa bonne volonté, Tonny vole une Ferrari, mais son initiative est accueillie avec colère par son père, qui lui reproche d'avoir agi stupidement. En même temps qu'il subit les humiliations paternelles, Tonny apprend qu'il a eu un fils. Il n'y croit pas au début, mais finit par se prendre d'affection pour un bébé que sa mère néglige. Pour gagner un peu d'argent, Tonny s'associe avec un gangster dont la bêtise lui a valu le surnom de “Kurt-le-con”. Comme par hasard, le plan de Kurt échoue. Pour gagner du temps et faire croire qu'il a été victime d'un racket, Kurt demande à Tonny de lui tirer une balle dans le bras et de vandaliser son appartement... (texte officiel du distributeur)
(plus)Critiques (7)
Dans le premier volet, le personnage secondaire de Mads Mikkelsen a attiré mon attention, et dans le deuxième volet, Refn le développe en profondeur. Sa relation clé avec son père, sa relation problématique avec les femmes. Et la présence omniprésente de la cocaïne, du crime et des gangsters. Seuls quelques-uns des autres personnages du premier volet apparaissent, et seulement brièvement, pour relier les histoires. Le premier volet était un film de gangsters, le deuxième est un drame social dans un environnement de gangsters. Choquant et psychologiquement percutant, dans la meilleure tradition scandinave.
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Where Frank was always doing something in the first part (meaning actively getting in trouble), in the second part, Tony goes through life without much a do, because he’s such a waste that he wouldn’t even try to do anything. Once again, Refn’s look into the gutters of society feels extraordinarily authentic, to the point that it was almost unpleasant to watch that existence. The ending is impressive.
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It’s been a really long time since I saw the first part of The Pusher, so I said to myself it would be a good idea to watch the remaining parts so that the entire trilogy could gradually conclude. Well and the second part focuses on a pretty stupid character, who is portrayed by Mads Mikkelsen. And since we all already know that Mads is a great actor, you can bet that he sure had a lot fun with this one. The entire movie is built on him and thanks to him it is genius. No more words are necessary. Simply watch it and see for yourselves. It’s been a long time since I saw a movie that would stand or fall with a single character like it does in this case.
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The second Pusher stands out for its greater passivity – Mikkelsen's Tonny was already in the flow of events and "patterns" in the first film. This becomes fatal to him in a story imbued with a certain perverted junkie "Oedipism". Mads is fascinating, locked within himself and heading for the final tragic gesture of purity amidst the filth. Tragic because it's a gesture that leads nowhere – there's no escape. In this sense, more radical and closed than the first film, which seemed to be moving away from the hopelessness a little after all.
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Refn's anti-hero is willing to do anything to survive, but he certainly is not a drug dealer. More like a petty criminal, a car thief with a little bit of luck. He's unnecessarily impulsive, unbalanced, weak, and helpless, and without life perspectives and emotional support. Refn's work is mainly associated with the title Drive, which is an atmospheric overseas thriller with a mysterious and invincible hero. This film represents its nonchalant European counterpart, but surprisingly, in my eyes, it is a bit better. It is, so to speak, true to life. This unadorned and unromantic image of the gallery is much more convincing. Additionally, Refn has the virtuoso actor Mads Mikkelsen at his disposal, who is a chameleon in his roles. I have had the opportunity to see him in costume roles, as an elegant gentleman or as a devilish Bond villain. Now I watched him as a tattooed thug with a sense for choosing the worst possible solutions. Overall impression: 70%.
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Mads Mikkelsen rocks again. This time he's here as the biggest bum, lackey and fool, and yet he wins you over. Unlike Frank from the first Pusher, who everything depended on, Tonny just sits back passively, trying make some money. Overall, it's a slightly weaker sequel, but the ending is much stronger and really improves the overall impression.
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Compared to the first one, there are stronger social themes (whether it's the complicated relationship with the father or the overall complicated "personal rehabilitation" after returning from prison) and the main character is not as easy to read as in the first one. Because of these differences, Refn broaches a much more powerful social drama, with mafia activities playing second fiddle. In fact, it is not the desire for mammon itself that is at the forefront, but rather a deep personal need for recognition from immediate family.
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Annonces