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Runtime - 104 M. Director - Ladj Ly. score - 4534 vote. . writers - Giordano Gederlini. Les misérables is a movie starring Damien Bonnard, Alexis Manenti, and Djebril Zonga. A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the.

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Watch HD Movies Online For Free and Download the latest movies. For everybody, everywhere, everydevice, and everything; When becoming members of the site, you could use the full range of functions and enjoy the most exciting films. Back to login We will send a new password to your email. Please fill your email to form below. Back to login. This movie deserves a round of applause for tackling such a big issue with such a refine style and a cautious but reasonable neutrality. So what is it all about ?
Stéphane, a cop who recently joined the Montfermeil anti-crime brigade quickly discovers the tensions between the different groups in the neighbourhood, as well as the curious methods of his team mates. During an arrest, one of them gets overwhelmed by the evenets and made a terrible blunder but a drone has filmed all the scene. Beyond the police blunder, it's a denonciation of several misconducts in those areas and the complete state of neglect that all suffer from that is tackled in this film.
In fact this movie has a lot of qualities starting of course by its content: real whistle blower of a latent conflict. A bit of a bolt out of the blue for those who were still dreaming of a pacified country.
Don't get it wrong. The film does not call for civial war. It's just a depiction of what happens every day in some cities of France. The Victor Hugo's reference is just a wink, a little tribute as Monfermeil (the city where the story takes place) is also where the Thenardier family in Les Misérables (the book) used to live. In fact the movie is more about what the word "Les Misérables" means than about the story of the book. The film focuses on the miserable people living, working (the cops of course) growing (the kids) and their interractions an conflicts in those abandoned lands of the French republic. The director wanted to send a message to the authorities and make them realize what are the feelings of the people living there who had been left in the lurch after political promises for so many years.
The fact that the director tackles this issue through the policemen' eyes is daring and intelligent since we quickly realize that the policemen are part of these miserable people as well. Then starts on a vicious circle which leads to the final phrase of Victor Hugo himself: there is no bad seeds, or bad men but just bad growers.
In terms of rythm, intensity and style the film is a great success. You never loose the tension, you never want to take sides but you want to know where and how it will end up even if you fear it will end up badly. The amateur actors and profesional actors are all of them very genuine especially the bad and the good cop. The scene of the conflict between the gypsies and the kids of the neighborhood was quite of a shock, and the plot in general is gripping from the beginning to the end.
I highly recommend it.

KHAYIM LEYB FUKS (CHAIM LEIB FOX) May 29, 1897-March 6, 1984) He was born in Lodz, Poland.   His father Rode, who was a descendant in the line from Reb Avremele, the Tshekhanover ( Ciechanower) Rebbe, and from Yits ḥ ak-Meir, a Sefardi and a descendant from Rabbi Yosef Karo.   His father, a rabbi in Lodz, also composed poetry and fables in both Hebrew and Yiddish. As a father of four children, he left the rabbinate and became a sign painter.   Until age sixteen, Khayim Leyb studied in yeshivas and acquired a reputation as a prodigy.   As an audodidact, he acquired secular subject matter.   During the years of WWI, he was conscripted into forced labor in Germany. Later, when he had returned to Lodz, he was for a time active in the Bund and in trade union work, later in the Zionist labor movement.   He was also involved in the illegal aliya movement to the land of Israel from Poland. He lived for a short time in Israel, in 1936, and during the troubles at that time he joined the Hagana.   In late 1938 he returned to Poland.   During WWII, 1940-1946, he was in Soviet Russia, and later until 1948 he was back in Lodz.   He spent 1948-1953 in Paris.   In 1953 he immigrated to the United States and lived in New York.   In Paris he was a cofounder and vice-chairman of the Yiddish literary association and cofounder of the community of Eastern European Jews. From 1959—in the United States—he was a member of the management of the New York Yiddish Pen Center.   His literary activities began with Hebrew poetry during his yeshiva years.   In 1913 he switched to Yiddish and debuted in print with poems in Folksblat (Peoples newspaper) in Lodz (1915.   He was a cofounder of the Lodz writers group, a representative of the Lodz writers association, and a delegate from the latter to the first conference of Yiddish writers in Poland (1919.   He contributed poems, stories, essays, and reviews concerning literature, theater and art, travel narratives, prose (the novel Gyoras letster veg [Gioras final road. journalistic essays, and translations for: Folksblat, Yung idish (Young Yiddish) Literatur (Literature) Sfeld (The field) Gezangen (Songs) Shveln (Thresholds)—also co-editor of the last three of these— Vegn (Paths) Oyfgang (Arise) Literarishe monatshrift (Literary monthly writing [also its editor. Inzl (Island) Lodzher veker (Lodz alarm [also head of its literary department. the weekly Fraytog (Friday [also co-editor. and Der yidisher zhurnalist (The Jewish journalist) among others, in Lodz; Literarishe bleter (Literary leaves) Folkstsaytung (Peoples newspaper) Yugnt-veker (Youth alarm) Ilustrirte vokh (Illustrated week) Varshever shriftn (Warsaw writings) Foroys (Onward) Vokhnblat far literatur (Weekly writing for literature) Os (Letter) Arbeter tsaytung (Workers newspaper) Dos vort (The word) Undzer ekspres (Our express) and Haynt (Today) among others, in Warsaw; Vilner tog (Vilna day) in Vilna; Parizer haynt (Paris today) Naye prese (New press) and Parizer bleter (Parisian leaves) in France; Di tsayt (The times) in London; Nayvelt (New world) and Davar (Word) in Israel; Byalistoker shtern (Bialystok star) in Bialystok; Shtern (Star) in Minsk; and the anthology Dos blut ruft tsu nekome! The blood cries out for revenge. Moscow: Emes, 1941) among others.   From 1946, he placed work in: Dos naye lebn (The new life) Naye folkstsaytung (New peoples newspaper) Arbeter vort (Workers word [also literary editor] Yidishe shriftn (Yiddish writings) Folksshtime (Voice of the people) Lomir kinder lernen (Lets teach children) Oyfgang, Flamen (Flames) Dror (Freedom) Historisher zamlbukh (Historical anthology) Pinkes fun yidishe druker (Records of Jewish publishers) in which he published portions of his work Lodzher yidishe drukers (Jewish publishers of Lodz) Undzer shul (Our school) and the Polish-Jewish Most (Bridge) Słowo M łodych (Voice of youth) Głos Bundu (Voice of the Bund) and Nasze Słowo (Our word) among others, in Poland; Undzer shtime (Our voice) Kunst un visnshaft (Art and science) Undzer vort (Our word) Tsienistishe shtime (Zionist voice) Problemen (Problems) Teater-shpigl (Theater mirror) Undzer veg (Our way) Frayland-iberblik (Freeland survey) Kultur-yedies (Cultural information) Kiem (Existence)—among other items, materials from his major work Mehus fun der yidisher literatur (The essence of Yiddish literature) and pieces from his novel Gyoras letster veg —and Arbeter vort, among others, in Paris; Keneder odler (Canadian eagle) Yidisher zhurnal (Jewish journal) Tint un feder (Ink and pen) and Dos idishe vort (The Yiddish word) in Canada; Undzer lodz (Our Lodz) Di naye tsayt (The new times) Yidishe tsaytung (Jewish newspaper) Shmerke katsherginski-ondenk-bukh (Memory volume for Shmerke Katsherginski) Buenos Aires, 1955) and Naye literarishe bleter (New literary leaves) among others; Dorem afrike (South Africa) in Johannesburg; Heymish (Familiar) Hapoel-hatsair (The young worker) Davar, Nayvelt, and Lebns-fragn (Life issues) among others, in Israel; Tsukunft (Future) Yidishe kultur (Jewish culture) Veker (Alarm) Fraynd (Friend) Kultur un dertsiung (Culture and education) Unzer tsayt (Our time) Undzer veg, Forverts (Forward) Morgn-zhurnal (Morning journal) Svive (Environs) Fraye arbeter-shtime (Free voice of labor) Idisher kemfer (Jewish fighter) Velt un folk (World and people) Opklayb (Selection) Amerikaner (American) and Byalistoker shtime (Voice of Bialystok) among others, in New York; Der veg (The way) Foroys, Dos vort, and Di shtime (The voice) among others, in Mexico City; and in the memorial volumes for such cities as Skernyevits ( Skierniewice) Bzhezhin ( Brzeziny) Tshenstokhov ( Częstochowa) Sokhatshov ( Sochaczew) Pyetrikov (Piotrków) and Lodz, among others.   A number of his poems were translated in Polish, Hebrew, Russian, and French.   His work has been included in the following anthologies: Z. Shik, 1000 yor vilne (One thousand years of Vilna) Vilna, 1939) Mortkhe Yofe, Erets-yisroel in der yidisher literatur (Israel in Yiddish literature) Tel Aviv: Perets Publ., 1961) Kadye Molodovski, Lider fun khurbn, t”sh-tsh”h (Poetry from the Holocaust, 1939-1945) Tel Aviv, 1962) N. Mayzil, Y. l. perets in der yidisher dikhtung (Y. L. Perets in Yiddish poetry) Tel Aviv: Perets Publ., 1965) and Joseph Leftwich, The Golden Peacock: An Anthology of Yiddish Poetry (London, 1939. Fuks was the author of a number of major research works: Vskhodnye gas in lodzh (Wschodnia Street in Lodz) 1957) “Dos yidishe literarishe lodzh” (Jewish literary Lodz) 150 years of Yiddish and Hebrew literature, in Fun noentn over (From the recent past) New York) 3 (1957) pp. 189-284; A yidish shtetl bay der khinezish-sovetisher grenets (A Jewish town near the Sino-Soviet border) 1958) Der yidisher khurbn in poyln in di verk fun katsenelson, broderzon un segalovitsh (The Jewish destruction in Poland in the works of Katsenelson, Broderzon, and Segalovitsh) 1965.   Other books include: Durshtike lemer, lider, poemen, baladn (Thirsty lambs, poems and ballads) Lodz, 1926) 199 pp. Zingt mir a velt (Sing me a world) poetry (Lodz, 1936) 78 pp. Gyoras letster veg, a historical novel (Lodz, 1939) 374 pp. Sho fun lid, lider un poemen (Time for song, poetry) Paris, 1951) 128 pp. Di teg neygn di kep, lider, poemes, un balades (The days bow their heads, poems and ballads) New York: Tsiko, 1969) 96 pp. Lodzh shel mayle, dos yidishe gaystiḳe un derhoybene lodzh, 100 yor yidishe un oykh hebreishe literatur un kultur in lodzh un in di arumiḳe shtet un shtetlekh (Lodz on high, the Jewish spiritual and elevated Lodz, 100 years of Yiddish and also Hebrew literature and culture in Lodz and in the surrounding cities and towns) Tel Aviv: Perets Publ., 1972) 352 pp. Zunfargang (Sunset) Haifa, 1972) 71 pp. Der akhter himl, lider, tefiles, poemes fun mayn velt un fun mayn erets yisroel (The eighth heaven, songs, prayers, and] poems of my world and of my land of Israel) New York: Tsiko, 1974) 126 pp. 100 yor yidishe un hebreishe literatur in kanade (100 years of Yiddish and Hebrew literature in Canada) Montreal: Bukh-komitet, 1980) 326 pp. Tsu di himlen aroyf (To the heavens above) New York: Tsiko, 1982) 199 pp.   He was one of the main contributors to Leksikon fun der nayer yidisher literatur (Biographical dictionary of modern Yiddish literature) author of some 3000 biographical entries (among them 400 of forgotten poets and storytellers and authors of early Yiddish.   He also wrote under such pen names as: Kh. Narkis, Kh. Ludzki, Mikhl Libling, Khl”f, Khalef, FU, FS, Leye Grinboym, and F-s.   He died in New York. “Blended together into one mold in Khayim Leyb Fuks, ” wrote Yitskhok Bashevis, “is the poet, the storyteller, and the collector. He belongs to the very few sincere Yiddishists whom one can truly count on ones fingers….   The accent is on Yid …. His poems are full of religious turns of speech, religious and ethnic spirit.   One can say of Fuks that God, Israel, and Yiddish literature form a single whole in him. ” As Y. Yanasovitsh has noted: “Khayim Leyb Fuks is the poet of ardent prayer-song and deep lyrical outpouring lament….   His emotions did not flow into a crystal flower pot of formed workmanship.   [He] works with what is elemental and with ecstasy. ” Sources: Zalmen Reyzen, Leksikon, vol. 3; Meylekh Ravitsh, Renesans (Renaissance) London, 1919) Ravitsh, in Keneder odler (Montreal) April 11, 1960; November 12, 1962) Arn Mark, in Literarishe bleter (Warsaw) April 16, 1926) Sh. Shnayderman, in Folkstsaytung (Warsaw) August 20, 1926) Biblyografishe yorbikher fun yivo (Bibliographic yearbooks from YIVO) Warsaw, 1928) see index; Y. Rabon, in Literarishe bleter (July 10, 1936) Y. Yanasovitsh, in Nayer folksblat (Lodz) July 16, 1936) Yanasovitsh, in Di prese (Buenos Aires) February 22, 1958) Elye (Elias) Shulman, in Inzikh (New York) September 1936) Y. Bashevis, in Tsukunft (New York) August 1943) Bashevis, in Forverts (New York) August 5, 1962; June 11, 1967) Khayim Krul, in Literarishe heftn (New York) May 1946) Y. Sh. Herts, Geshikhte fun a yugnt (Story of a youngster) New York, 1946) p. 312; M. Grosman, in Dos naye lebn (Lodz) 1946) Avrom Reyzen, in Di feder (New York, 1949) pp. 189-90; L. Domankevitsh, in Undzer vort (Paris) February 3, 1951) M. Borvin-Frenkel, in Undzer shtime (Paris) February 1951) A. Leyeles, in Tog (New York) August 19, 1951) Nakhmen Mayzil, Geven amol a lebn, dos yidishe kultur-lebn in poyln tsvishn beyde velt-milkhomes (There was once a life, Jewish cultural life in Poland between the two world wars) Buenos Aires, 1951) p. 67; Mayzil, in Yidishe kultur (New York) December 1954) Dr. Shloyme Bikl, in Tsukunft (December 1951) Bikl, in Tog-morgn-zhurnal (New York) October 1, 1967) M. Valdman, in Kiem (Paris) February 1952) Valdman, in Undzer eynikeyt (Paris) December 1958) Shmuel Niger, in Tog-morgn-zhurnal (August 15, 1954) Yankev Glatshteyn, in Idisher kemfer (New York) March 1955; May 9, 1958; January 15, 1965) Yekhiel Aronson, in Di naye prese (Paris) January 14, 1956) Sh. Tenenboym, in Di shtime (Mexico City) June 30, 1956) P. Shvarts, in Fun noentn over (New York) 2 (1956) pp. 431, 439; Y. Botoshanski, in Di prese (Buenos Aires) December 31, 1957) Botoshanski, in Fun noentn over 3 (1957) pp. 190, 341, 345, 351, 355, 379; H. Fenster, in Undzer shtime (May 26, 1958) M. Dluzhnovski, in Fraye arbeter-shtime (New York) June 1, 1958) Dluzhnovski, in Folk un velt (New York) November 1967) Avrom Shulman, in Undzer shtime (July 19-20, 1958) Avraham Levinson, Toldot yehude varsha (History of the Jews of Warsaw) Tel Aviv, 1953) see index. [Additional information from: Berl Kagan, comp., Leksikon fun yidish-shraybers (Biographical dictionary of Yiddish writers) New York, 1986) col. 439...

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KHAYIM SLOVES (HENRI SLOVÈS) June 19, 1905-1988) He was born in Bialystok, Russian Poland, to a father who was a leather worker and who later took up business.   He studied in a “cheder metukan” (improved religious elementary school) in a Russian and a German school, and later in a secular Jewish public school; he also attended pedagogical courses in Bialystok.   He was in addition a student in the Warsaw “Free High School. ”   From his earliest childhood years, he had an interest in theater, would organize pageants with groups of children in the courtyard of their residence, and would put together theatrical evenings with pupils from the Jewish public school, for which he served as director and lead actor, and the repertoire consisted largely of plays that he put together on his own.   His first works for the stage were a dramatized chapter from Mendeles Fishke der krumer (Fishke the lame) later his own drama in one and one-half acts and a four-act play in blank verse— A shvere operatsye (A difficult operation) which was directed by Dovid Herman.   He was a cofounder of a theater society, “Association of Young Lovers of the Arts” in Bialystok.   In 1920 he marched on foot with the retreating Red Army from Poland to Russia, was in Minsk, Smolensk, and Moscow, later returned to Poland, was active in the underground revolutionary work of the left, spent time in Polish prisons, and endured hunger strikes.   He subsequently continued his studies in the Jewish pedagogical courses and was later a teacher in Jewish public schools.   In 1926 he immigrated to France, settled in Paris, studied (1927-1929) at the Lyceum “Charlemagne” there, and went on to study (1929-1934) at the Sorbonne where he received his doctor of law degree.   Over the years 1935-1938, he published three books in French concerning international law and modern history.   In 1936 he was secretary of the organizing committee of the first World Jewish Culture Congress in Paris, and as the secretary of the then founded IKUF (Jewish Cultural Association) he visited the Baltic states (autumn 1938) and Belgium, Holland, and England (spring 1939.   Under Nazi rule in France (1940-1944) he lived for a time in Vichy, later near Lyons, where he was active in the French-Jewish resistance movement and wrote articles for illegal Yiddish and French publications.   After the liberation of France, he returned to Paris, was a contributor to French periodicals, and published plays and articles concerned with various Jewish cultural issues in: Naye prese (New press) Oyfsnay (Afresh) and Unzer eynikeyt (Our unity) among others, in Paris; Yidishe kultur (Jewish culture) Morgn-frayhayt (Morning freedom) and Zamlungen (Collections)—in New York; and Yidishe shriftn (Yiddish writings) and Folks-shtime (Voice of the people) in Warsaw.   He also contributed to Yiddish publications in Latin America and in the state of Israel.   Among his drama and folk plays, Homens mapole (Hamens downfall) Di yoynes un der valfish (The Jonahs and the whale) Di tsayt fun gezang (The time of song) Nekome-nemer (Avengers) and Borekh fun amsterdam (Baruch from Amsterdam) were staged in Yiddish theaters in France, Sweden, Poland, Romania, Israel, South Africa, Argentina, Brazil, Mexico, and New York.   His one-act play Der ksav fun rekht af links (Writing from right to left) was performed in French, Spanish, and Portuguese.   In 1958 he and the Parisian writers M. Vilner and A. Yudin visited Moscow with the mission there of “investigating the state of Jewish culture, ” and their report, “Vegn der yidisher kultur in sovetn-farband” (On Jewish culture in the Soviet Union)—published in 1959 in Yidishe kultur in New York and Unzer eynikeyt in Paris and republished by the World Jewish Congress in Paris—elicited a discussion in Unzer eynikeyt (August-September 1959) as well as various polemical commentaries in the Yiddish and Hebrew press.   Together with Sh. Dobzhinski, he also published and edited (1958) a quarterly journal in French entitled Domaine yidich (The field of Yiddish) with the goal of acquainted the assimilated Jewish youth in France with writings in Yiddish, Yiddish literature, and Yiddish culture.   In book form: Nekome-nemer, a tragedy in three acts and nine scenes (Paris: Oyfsnay, 1947) 94 pp. (winner of a prize from the Moshe Kasner Fund in Buenos Aires) Homens mapole, a folk play in four acts (Paris: Oyfsnay, 1949) 103 pp. Di yoynes un di valfish, a folk play in three acts (Paris: Oyfsnay, 1952) 117 pp. (also winner of a prize from the Moshe Kasner Fund) Borekh fun Amsterdam, a drama in four acts and nine scenes (New York: IKUF, 1956) 112 pp., second edition with text in Yiddish and Polish, in three acts (Warsaw: Yiddish State Theater, 1961) Der ksav fun rekht af links, in Yidish kultur (New York) 3 (1954) Di milkhome fun got (The war of God) a drama in three acts (New York: IKUF, 1963) 107 pp. Tsen brider zaynen mir gevezn, drame in dray aktn (We were ten brothers, a drama in three acts) Paris: Oyfsnay, 1965) 133 pp., earlier published in Yidishe kultur; Sovetishe yidishe melukhishkeyt (Soviet Yiddish nationalism) Paris, 1979) 265 pp., Hebrew translation as Mamlakhtiyut yehudit beverit hamoatsot (Tel Aviv: Am oved, 1981) 223 pp. A shlikhes keyn moskve (Messenger to Moscow) New York, 1985) 302 pp.   His work also appeared in: Itshe Goldberg, ed., Undzer dramaturgye, leyenbukh in der yidisher drame (Our playwriting, textbook in Yiddish drama) New York: IKUF, 1961) pp. 501-512. In 1960 he received the Shatsov Prize from IKUF and in 1963 the Zhitlovsky Prize—both in New York.   He visited the United States in 1962 and appeared at various IKUF undertakings.   He died in Paris. Sources: Zalmen Zilbertsvayg, Leksikon fun yidishn teater (Handbook of the Yiddish theater) vol. 4 (New York, 1963) with a bibliography; D. Klementinovski, in Byalistoker shtime (New York) March-April 1946) Y. Mestel, in Yidishe kultur (New York) April 1948; October 1956) Sh. Lastik, in Yidishe shriftn (Warsaw) October 1949) B. Mark, in Yidishe shriftn (October 1954) D. Sfard, Shtudyes un skitsn (Studies and sketches) Warsaw, 1955) pp. 169-75; Z. Vaynper, in Yidishe kultur (December 1956) M. Litvin, in Parizer tsaytshrift (Paris) 15-16 (1956) Dr. Shloyme Bikl, in Tog-morgn-zhurnal (New York) November 3, 1957) L. Domenkevitsh, in Unzer vort (Paris) 88 (3059) Lili Berger, in Yidishe shriftn (February 1958) Berger, Eseyen un skitsn (Essays and skits) Warsaw, 1962) pp. 182-90; Avrom Shulman, in Der veker (New York) June 1, 1958) Shulman, in Forverts (New York) April 6, 1959) Kh. Liberman, in Forverts (June 6, 1958) L. Bernard, B. Shlevin, M. Melman, Kh. Shoten, in Unzer eynikeyt (Paris) August-September 1959) Ḥ. Knaan, in Haarets (Tel Aviv) August 28, 1959) Sh. L. Shnayderman, in Forverts (December 2, 1959) I. Goldberg, ed., Undzer dramaturgye, leyenbukh in der yidisher drame (Our playwriting, textbook in Yiddish drama) New York: IKUF, 1961) pp. 499-512; Kh. Sloves, “Vegn zikh un vegn mayn shafn” (On me and my work) Yidishe kultur (November 1961) Sh. Belis, in Folks-shtime (Warsaw) January 6, 1962) R. Yuklson, in Morgn-frayhayt (New York) May 16, 1962) N. Mayzil, Tsurikblikn un perspektivn (Retrospectives and perspectives) Tel Aviv: Perets Publ., 1962) see index; Biblyografye fun yidishe bikher vegn khurbn un gvure (Bibliography of Yiddish books concerning the Holocaust and heroism) New York, 1962) see index; “Pyese fun kh. sloves af der frantseyzisher bine” (Plays by Kh. Sloves on the French stage) Unzer kiem (Paris) June 1964) M. Lerman, in Arbeter-vort (Paris) May 8, 1964. [Additional information from: Berl Kagan, comp., Leksikon fun yidish-shraybers (Biographical dictionary of Yiddish writers) New York, 1986) col. 406...

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