Director Antonin Baudry embarks the viewer in the world of machine throwing submarines. With Mathieu Kassovitz, Reda Kateb, Omar Sy and François Civil.
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The long prologue of the song of the wolf will bring the oldest spectators at the time of the patriotic comics of the Gaullist era, when Michel Tanguy or Rémi Herphelin defended the French nuclear force against the pulling carried out. This time, the heroes are submerged.
On board a submarine, off Syria, Commander Grandchamp (Reda Kateb) and his second in Ori (Omar Sy) depend on the fine hearing of Chanter (François Civil), a young Officer charged with decrypting the noises captured by the submersible devices. Their mission is to find combat swimmers parties on the ground for some secret operation. While singing tries the sound signatures of the engines (trawler, enemy ship, marine fauna …), the officers speak such an encrypted language that we are obliged to believe in its veracity (attested by independent experts). The intervention of a mysterious submarine is lacking to hop the mission, which ends with a high weapons, before everyone returns to Brest.
Arrived on the long island, the singing of the wolf changes nature. It is no longer a question of encouraging young people to see the country by spicing the daily life of the Royal of some adventures. The scenario of Antonin Baudry (Author of the Cartoon Quay of Orsay, which makes here his debut of director) imagines a peak of tension between Europe and Russia, and Grandchamp is entrusted with the command of a sub- Nuclear marine launcher of gear at the moment when Moscow has just invaded southern Finland.
Excessive ambition
Antonin Baudry’s ambition is admirable, probably excessive. After all, to get out of a similar problem, Stanley Kubrick had chosen the way for satire in Doctor Folamor. Antonin Baudry is both playful and more serious. In order to place the commander Grandchamp in front of the most terrible dilemma that a human being able (risking the extinction of the species to save his country), the story fragments in a sequence of episodes and coincidences drawn by the hair. It is impossible to evoke philosophy (because it is a fundamental question that it returns) without revealing them, and it is better to preserve the surprises that the song of the wolf can reserve it.
The realism of the procedures (we will learn at least what separates us from the apocalypse – some abscons forms) and decorations (the national navy has not been chick in its support) is not enough to conceal these artifices, no more than the efforts of the actors. Reda Kateb and Omar Sy take the party of the impassive facade on febrile background. Even Mathieu Kassovitz (Admiral), which does not miss any geopolitical experience, seems exceeded by these issues.