Late evening when in a police station there is inspector only on duty, the woman arguing enters into doors of office that her victim the husband did not commit suicide ten years ago at all, having jumped out from a balcony. The woman says that it pushed off the spouse, without having sustained a beating and the bestial relation to for many years. Night in private with the female inspector passes in heated argument – whether the husband dismissing hand deserved death and whether the wife who has escaped from under oppression deserves punishment.
At the heart of the scenario of a picture Jean Tele’s novel «Gravitation laws» – the best-seller, a source of numerous theatrical performances lies
The audience who is guided in films it is exclusive on short synopses and data on duty from advertizing flyers at cinemas, for certain more than once were deceived by their contents. «Arrest me» is among those pictures which, on the one hand, leave dissatisfied those who went on it to a cinema, believing to see the thriller, and on the other hand, behind a board there is a target audience of a tape – the women, thirsting to see the big human drama with a huge question mark which can be discussed long, savouring details and trying on a situation on itself.
As the thriller in a picture does not smell. Though in the film is present both firearms, and the ground fork used not for the designated purpose, and the falling specified in an outset from height, the main line of a tape at all at it. «Arrest me» is a colloquial drama, the conversation of two women interrupted by flashbacks of da by rare emergence in a shot of insignificant incidental heroes. But the drama here is developed with all attributes inherent in the tragedy – "guilty" and "inspector" shout, cry, pray, read verses, fight, direct at each other the gun, but the main thing – share the vital experiences. It appears, each of them found for the first time the interlocutor who here in such unusual situation would like to unburden the heart.
Director Jean-Paul Lilyenfeld deserved world recognition by the previous film – the drama «Last lesson», noted by two nominations on the award "Cesar"
What lies heavy cargo on soul of the guilty widow considering? The director from us also does not hide it – heroine Sofie Marceau in the first flashback tells about how pushed the husband when that threatened to kill itself(himself), standing on the brink of a balcony. What led to it? Infinite humiliations and a beating which also emerge in memoirs. Why the heroine suffered it? And here the viewer stumbles …, It seems, good from a meeting of the woman with future husband it was not necessary to wait for anything – and the first appointment was not set, and future mother-in-law hinted at unstable mentality, and a mark from a fork teeth at the woman on a hand with an ulterior motive. Why the heroine suffers all this? The author of a picture goes round it with a certain caution, trying to be covered with a violence subject in a family. Well, he can be understood – conversations on it emerge at cinema quite often.
And here the most interesting begins – the opinion of the director on violence in a family is broadcast to the viewer through the inspector performed by the veteran (in the finest sense of the word) Miu-Miu’s French cinema. The inspector quietly declares: «Everything correctly made!» From bewilderment at the viewer even the speech power can be gone. As it so – the author does not look for the reasons in education of the house madman, does not try to disassemble characteristic features, does not offer a solution for the woman who is suffering indignity, more precisely, does everything to show that no other exit is present, except how to answer once, but to answer so that the obedient victim and further could remain same "lamb", but already in the absence of "wolf".
Is over what to think. And, perhaps, the final scene when the unfortunate victim of the long-term violation which has opened a circle by easy movement of a hand, meets the son and explains him motive of the campaign in a night police station, is the strongest that is in the film. Sofie Marceau – the beauty and the master of creation of romantic mood – in these an hour and a half changes in type absolutely unusual to: the librarian hiding bruises from colleagues, muffling up in shapeless clothes and taking cover from the outside world a victim cocoon. Is well matched for it and Miu-Miu – rejected all external inspector, preferring to sleep in a site, locking doors and turning off the light in hope that its minutes horrors which it saw enough for the career. The duet turned out bright, it is a pity only that interlocutors spend the most part of time for juggling by the words which absolutely not are not adding sense to the events.