‘Polisse’ puts a face on child abuse through police perspective
Has there ever been a great film about child abuse? “The Lovely Bones” was an ambitious failure, and the provocative documentary “Capturing the Friedmans” flinched before resolving the case it investigated. The closer we get to kids in danger, the harder it is to watch.
Like “Gone, Baby, Gone,” the French film “Polisse” succeeds by shifting the focus from the victims to the vigilant protectors. In the former film, the story was about a single child abduction in a clannish suburb; in the latter, it’s about the daily diligence of a metropolitan police force.
Based on true stories from Paris’ child protection unit, this police procedural could be called “Rue De Hill Blues.” The saving grace of the ghoulish subject matter – child molestation, prostitution, neglect – is the humanity of the cops who combat it. There are 10 officers in the unit, plus ride-along photojournalist Melissa (played by the singularly named director Maiwenn).
The boisterous, multicultural crew is led by pragmatic peacemaker Baloo (Frederic Pierrot), who must deal with bureaucratic pressure from above and insubordination from below. His most ardent officer is Fred (Joey Starr), an immigrant whose passion for children’s welfare turns too personal. He tries in vain to shelter a homeless mother and child, and when a wealthy man admits to molesting his daughter, Fred forcefully deviates from the interrogation protocol.
The seemingly improvised script and quasi-documentary direction ensure that these aren’t one-dimensional crusaders. The break-room bickering raises unresolved questions about cultural norms in the Internet era, the parameters of parental affection and even the sexist implications of language. There’s humor too, in the cops’ after-hours decompression, and romance when divorcing-dad Fred finds comfort with mated Melissa (after scolding her for being a professional voyeur).
“Polisse” draws us uncomfortably close to a taboo subject then rewards us with real nourishment.