Movie Review: The Kid with a Bike
As an American movie lover, I had to get into a French state of mind before watching The Kid with a Bike. Not just in the sense of the challenges of getting the full impact of the film while reading subtitles, but the certain difficulties of relating to the emotional differences in cultures and or directorial interpretation. I couldn’t help but think how this would have played out in an American film. My best guess is that it would be extremely different. But perhaps this is both the beauty of something differing from what you’re used to, as well as the menacing emotions one experiences when contrasting the distinctions in cultures. All that aside, I found this 87-minute French film void of the much needed necessary passion, considering the magnitude of a young boy being abandoned by his father, leaving way too much up for one’s imagination. This drama explores the determination of Cyril Catoul (Thomas Doret) to get his father Guy Cataul (Jérémie Renier) to love and want him. Doret is spot on, portraying a very realistic troubled kid, full of all the annoying characteristics one might expect.
The story begins with Cyril trying to contact his father by phone only to find out his number has been disconnected. Cyril is living in a state run youth farm, or an orphanage if you will. His father once told him that this would be short term, a month or so. Cyril manages to escape and flee to his father’s apartment, to soon learn that his dad has been gone for over a month with no forwarding information. After the young boy’s agonizing effort, the superintendent allows him to view his father’s old dwelling. Cyril is hopeful that his most valuable procession, his bike will be in the building. He has no luck, and is given the impression that his father may have sold it to help pay bills. The boy refuses to believe that his dad would ever do such a thing. The men from the orphanage show up, and Cyril clings to a woman so that he can’t be pulled away, Samantha (Cécile De France) is the town’s hairstylist. She takes pity on the boy and finds his bike. She was told that Guy Cataul sold it, so she bought it back and brought it to Cyril. Now, this is what I was talking about earlier, you would think the boy would be so happy, grateful, something. He obviously was pleased, immediately riding the bike around, and doing tricks, but no smile, no cheer, just a very matter of fact reaction. Maybe that was the point that the renowned directors (Jean-Pierre Dardenne and Luc Dardenne) were trying to convey in this film. That the boy had hardened so much that emotions, both good and bad, were beyond him. Here is the other interesting thing for me, before Samantha leaves, he asks her to foster parent him on the weekends. She immediately says, “Sure.” Just like that, no thought, no talking about it, they have spent maybe a total of five minutes together, and sure, I’ll take you every weekend indefinitely.
The story goes on; Samantha tracks down Guy Catoul, and sets up a meeting for father and son to meet. Guy never shows, so the two track him down again. You are expecting this big drama-filled scene where the boy gets to express his anger, sadness, perhaps even a little disappointment, but then, again, nothing. The father is a loser, and just doesn’t want the responsibility of the boy any longer. On the ride home he does finally express some emotion with an angry outburst. But that was it, brief and lacking again for me. Soon after, the town drug dealer befriends the young man, only to get him to carry out an illegal job for him. Cyril and Samantha have a very physical argument; Cyril runs out and crosses the line into criminal acts. The job goes bad, two people are injured and the dealer dumps the kid and the stolen money. Running to his father to give him the money, he is once again rejected, and turns back to Samantha for help. She immediately forgives him and when asked, takes him on as her child for a permanent arrangement.
Finally, restitutions are being made for the stolen money, apologies are given, and life is going on marvelously when one of the victims refuses to accept the apology and goes after Cyril. The conclusion is vague, but leads you to read between the lines that all is forgiven and all Cyril is only interested in is some semblance of a normal childhood. Honestly, when the credits started to roll I was left wanting. Let me explain, a drama needs to bring about emotion, and frankly I’m a person that can well up during heartfelt mustard commercials. Not once, during this would be dramatic story did I have even the slightest inclination to spill a tear. Golden Globe nominated? Let me be the one to say it, “The Emperor is naked!”
Betsy Cizek
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