Colors of Fire: The Successful Sequel to See You Up There [critique]

Clovis Cornillac brings Pierre Lemaître's novel to the screen, with an ambition for popular cinema that he succeeds in fulfilling, despite a few clumsinesses.

We're not going to lie. The opening scene of the Colors of fire makes one fear the worst. A sequence shot that shows his muscles like an echo to the beginning of the See you up there by Dupontel, of which it constitutes the sequel. Everything about it sounds fake. That is… the opposite of what follows.

Colors of fire arrives this Sunday in clear on television, on France 2, and First recommend it to you. Not just if you liked the first adaptation of Pierre Lemaître's novels, by the way. Here's our review.

Started with the inventive A little, a lot, blindlythe career of Clovis Cornillac director has tended to hum since then. But tackling the Colors of fire gives it a boost by allowing it to reconnect with what constitutes its DNA, its ease in the field of popular cinema in the noblest sense of the term. And in total harmony with this work by Pierre Lemaître, rich in various and varied betrayals, where Madeleine Péricourt (Léa Drucker who takes over the role created by Emilie Dequenne) inherits the financial empire created by her father, before her son's suicide attempt changes the course of her destiny and leads her, victim of the lure of gain of those around her, to ruin.

Colors of fire tells of his brutal fall and his long reconstruction, following the famous adage that revenge is a dish best served cold. The twists and turns are perfectly orchestrated, the staging is neat and discreet, far from the tumultuous inaugural gesture (despite some clumsiness, particularly in the way the scenes of the singer played by Fanny Ardant are brought to life), the performance impeccable (dominated by Léa Drucker, imperial in this romantic character to perfection, and Benoît Poelvoorde, masterful as a lovesick lover turned into a Machiavellian traitor). Mission accomplished.

Trailer:

With See You Up There, Albert Dupontel finally has his great film [critique]