Appealing a conviction for two murders he insists he didn’t commit — while candidly, even proudly, admitting to multiple armed robbery charges — French activist turned criminal Pierre Goldman…
Appealing a conviction for two murders he insists he didn’t commit — while candidly, even proudly, admitting to multiple armed robbery charges — French activist turned criminal Pierre Goldman refuses to call any witnesses in his defense. “I’m innocent because I’m innocent,” he says flatly, rejecting the idea that testaments to his character and conduct have anything to do with it, and professing himself “disgusted” by courtroom pomp and theatricality.
Drawing from contemporary newspaper reporting and first-hand interviews with Goldman’s lawyers, Kahn and Nathalie Hertberg’s script dispenses with much in the way of setup. Establishing chunks of onscreen text provide the essential facts about Goldman’s 1974 conviction on four charges of armed robbery and subsequent sentencing to life imprisonment, but dramatically, the film plunges straight into legal preparations for his second trial with few niceties of character or milieu.
It’s an invisible introduction that tells us much about the recalcitrant whims and convictions of this radically left-wing intellectual: Raised by ardent Jewish Communists, he refused to take part in the May ’68 rebellion but instead headed to Venezuela to join a guerrilla movement, before returning to Paris to become a kind of gangster with a cause.
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