(director)
Gaumont (studio)
15 (certificate)
112 Mins (length)
21 September 2012 (released)
19 September 2012
An Invalid strikes up a friendship with an ex-con benefits cheat.
Large-scale comic films, for all their nudity, sex references and swearing rarely actually tackle controversial themes. Whilst the UK go in for cringe comedy like The inBetweeners Movie and the US have their own brand of ridiculousness spearheaded by the likes of Ferrell, Stiller and the American Pie / Anchorman / Superbad theme, it’s taken a French producer to make a laugh-a-minute comedy about a genuinely morbid subject.
Phillipe, a middle-age, widowed, wealthy millionaire is paralysed from the neck down following an para-gliding accident years ago. Increasingly irritable and bitter, he’s started to resent those around him - particularly his ever-so-patient, pitying carers. Life has become a series of dry art events, polite friends and attempts at replacing a physical sex life with long-distance correspondence with strangers. Enter Driss. A Senegalese street thug from a Parisian project, who deliberately attempts to flunk his interview: his sole reason for turning up in the first place being to have paperwork signed confirmed he fulfilled the three-job-applications a day rule in order to claim his benefit. Bored out of his mind by sycophantic carers, Phillipe decides to take him on, to the horror of Driss. Eventually, the job turns ex-con Driss into a responsible, rounded family man with purpose, but best of all, Phillipe becomes a chain-smoking, prostitute using, lady-seducing, police-avoiding, thrill seeker, all from the comfort of his souped-up wheelchair, having been led permanently astray by his new carer who insists on driving him everywhere in a Maserati, thinks weed is a far better cure for panic attacks than medication and concentrates on setting Phillipe up on a much-anticipated blind date.
The film moves well with a good series of sub-plots and build-ups that keep the action moving. The script is electric, Phillipe and Omar Sy playing their roles perfectly. Phillipe (Francois Cluzet) perfectly plays a man both initially bristling with cynicism and later quietly delighted that he has a new presence in his life - no matter how difficult. Meanwhile Driss (Omar Sy) avoids the hardened-gangster stereotype, coming across perhaps more realistically as unmotivated and obnoxious rather than threatening. Based on a true story, the film avoids excess sympathy or pathos: Instead focussing on the ridiculousness of the situation: Driss trying to get his head around a modern art exhibit and an evening at a German opera whilst the rest of the house staff learn to deal with Driss’ own mannerisms. Driss’ movement into the centre of Phillipe’s life is brilliantly written, and the lines keep on coming ( “Hey, come find us later, we’ll be seated over there. We’re not going anywhere. Especially not him / I don’t like flying with you. You’ve learned to deal with disaster and tragedy. I’m new to this.” )
Shooting a comedy about a thief and a wealthy invalid could have gone so horribly wrong. French directors Oliver Nakache and Eric Toledano have pulled off a coup however. A banging soundtrack, slick direction and one of the funniest scripts of the whole year. Having already grossed $351 million for viewings across a range of European countries, this deserves to be a hit on the UK market.
Go see it.
9/10
