As the son of a Russian who had fought in the Greek resistance against the Nazis and suffered repeated harassment after the war as a suspected communist, young Konstantinous Gavras witnessed oppression first-hand and it is not surprising that he was drawn to the novel based on the assassination of liberal politician Grégorios Lambrakis. The novel had been banned and its author Vassili Vassilikos forced into exile. The adaptation here is by the director and regular collaborator Jorge Semprún.
Although political, the film is never didactic and becomes a taut, highly charged political thriller which employs rapid cross cutting, zoom lenses, constant tracking and hand-held camera shots to maximum effect. The grainy cinematography by Raoul Coutard lends a documentary feel whilst the Oscar-winning contribution of Gavras' editor of choice, Francoise Bonnot, is exemplary. Mikis Theodorakis at the time was under house arrest so his score is based on earlier, adapted compositions.
Shot mainly in Algeria with interiors filmed in Paris, the director has the services of a magnificent cast headed by Yves Montand, described by Gavras as 'the only actor in France who could play Lambrakis'. Not only would Monsieur Montand have believed wholeheartedly in the project, his name on the marquee would undoubtedly guarantee a good box office return and in purely filmic terms his charisma ensured that although killed early on, his character's presence would permeate the rest of the film.
The examining magistrate, based upon Christos Sartzékis who was subsequently jailed, tortured and prevented from practising law, is played by Jean-Louis Trintignant who deservedly won an award at Cannes. Even by his standards his performance is a masterclass in understatement. Amongst others there is excellent support by Pierre Dux, Francois Périer and Marcel Bozzufi whilst the regal Irene Papas supplies the compassion and Georges Géret some much needed light relief. Special mention must be made of Jacques Perrin who plays a resourceful journalist for it was he who made the film possible by persuading Algeria to coproduce after his friend Gavros had unsuccessfully tried to raise finance.
Like Pontecorvo with 'Battle of Algiers', Gavras has here maintained a point of view above the level of the events he portrays and has not simply told a story but created a cinematic experience.
Although political, the film is never didactic and becomes a taut, highly charged political thriller which employs rapid cross cutting, zoom lenses, constant tracking and hand-held camera shots to maximum effect. The grainy cinematography by Raoul Coutard lends a documentary feel whilst the Oscar-winning contribution of Gavras' editor of choice, Francoise Bonnot, is exemplary. Mikis Theodorakis at the time was under house arrest so his score is based on earlier, adapted compositions.
Shot mainly in Algeria with interiors filmed in Paris, the director has the services of a magnificent cast headed by Yves Montand, described by Gavras as 'the only actor in France who could play Lambrakis'. Not only would Monsieur Montand have believed wholeheartedly in the project, his name on the marquee would undoubtedly guarantee a good box office return and in purely filmic terms his charisma ensured that although killed early on, his character's presence would permeate the rest of the film.
The examining magistrate, based upon Christos Sartzékis who was subsequently jailed, tortured and prevented from practising law, is played by Jean-Louis Trintignant who deservedly won an award at Cannes. Even by his standards his performance is a masterclass in understatement. Amongst others there is excellent support by Pierre Dux, Francois Périer and Marcel Bozzufi whilst the regal Irene Papas supplies the compassion and Georges Géret some much needed light relief. Special mention must be made of Jacques Perrin who plays a resourceful journalist for it was he who made the film possible by persuading Algeria to coproduce after his friend Gavros had unsuccessfully tried to raise finance.
Like Pontecorvo with 'Battle of Algiers', Gavras has here maintained a point of view above the level of the events he portrays and has not simply told a story but created a cinematic experience.