Film Review: The Lost Son (1999)
Trafficking of children for the purpose of sexual and other forms of exploitations exists, despite certain Western media figures angry over box office success of Sound of Freedom claiming otherwise. It actually existed for a long time and provided plots for films, although rather rarely, because the subject matter is so grim that any film maker dealing with it risks alienating the audience. Those that tackle that challenge usually do it in form of films that, in one way or another, resemble more conventional or digestible forms of entertainment, like The Lost Son, 1999 Franco-British thriller directed by Chris Menges.
Protagonist is Xavier Lombard (played by Daniel Auteil), former French police detective who whose career ended messily and forced him to move to London where he now earns a living as private investigator. His old friend Carlos (played by Ciáran Hinds) gets Xavier in touch with Mr. Spitz (played by Cyril Shaps), his wealthy father-in law. Spitz’s son Leon has disappeared after taking large amount of money from the family. Since Leonard happened to be a heroin addict, nobody thinks much of it, but Xavier’s instict tell him that the case is anything but routine. His doubts are confirmed when he tracks down Leon’s girlfriend Emily (played by Katlin Cartlidge) and finds her living with little Indian boy. It turns out that Leon stole the money in order rescue the boy from the clutches international gang that brings “puppies” – underage children from Third World countries – to London when they are supplied to the network of rich and influential paedophiles. Less motivated with desire to find what happened with Leon and more with disgust over what he had learned, Xavier is determined to bring down the gang regardless of the cost. He reaches his old friend, prostitute Natalie (played by Marianne Denicourt), and with her help, posing as paedophile, comes to the hotel in which the gang has soundproof rooms where the clients can do whatever they like to “puppies”.
Chris Menges was an accomplished cinematographer, winning Oscars for The Killing Fields and The Mission, before making his directorial debut, political drama A World Apart. In The Lost Son he tackled the subject of organised child abuse and trafficking through the template of “noirish” thriller. What sets this film apart from similar Hollywood films is European setting and characters conversing on different languages. The bleak atmosphere of modern London, captured by cinematography of Barry Ackryod, is so different from postcard images of “cool Britannia” that many British film makers promoted during early years of Blair’s government. The Lost Son looks very good in the first half, partly thanks to Daniel Auteiul, formidable French actor who is very convincing in first English language role while potraying world-weary protagonist. Good impression is somewhat compromised when protagonist in the second half turns into Bronson-like vigilante and the “surprise” plot twist near the end could be easily guessed by viewers. But, compared with the most films that deal with similar subject, like Schumacher’s 8MM, The Lost Son represent a good piece of cinema. The only reason why not to recommend it to the today’s audience is that it might make viewers depressive when they realise that the atrocities potrayed in this film are not only far from fiction but, in light of certain recent events, most likely much worse.
RATING: 6/10 (++)
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