Les Intouchables: The Underachievers

The recent success of the French film Les Intouchables is perplexing to say the least. The French media is promulgating this simple  story as one of France's most important cinematic event in all of history, and everyone seems to be okay with that. The newspapers have been publishing the number of cinema goers; they predict that sales might even exceed that of the charming film Le Fabuleux destin d'Amélie Poulain. An incredible feat if this is accomplished by newbie actors. I recently read an article that briefly lists how much money the film's director, Olivier Nakache, is expected to earn not only from the French version, but from any English-language remake. French President Nicolas Sarkozy invited the cast to dine at the Elysée. When I finally caved in and went to the UGC cinema to see for myself what all the hype was about, I was surprised to see just how many people were in line to see the same film. Were the movie critics right?

The story follows Driss (Omar Sy), a young, unemployed black man who lives in a poor Parisian banlieue, who eventually builds a strong relationship with his eventual employer, Philippe (François Cluzet). Philippe is white, extremely wealthy and paralyzed from the neck down. In search of a new employee to take care of his fragile self, Philippe chooses Driss out of all the other more qualified applicants. Driss, he says, might not be an intelligent, caring or conscientious worker, but he has a brain and treats Philippe as he would anyone else. And he does.

It's obvious that this film was intended to "examine" the racial relationship between the two of persons. Sometimes the director is successful in depicting the struggles of life inside the poor banlieues, but the majority of the film really only accomplishes to make racial stereotypes, especially of Driss. Driss plays an Eddie Murphie-type: an unintelligent, babbling, uncultured minority who somehow manages to be charming even while he is violently teaching a lesson to a man who has parked in a no-parking zone. In contrast, Philippe represents the cultured, sophisticated and intelligent man, who is physically limited and who therefore needs someone to do his manual work.

Driss and Philippe both profit from the relationship. In the end, Philippe wins the girl of his dreams and lives a beautiful life with her... and Driss is able to impress a potential employer with his new-found ability to identify works of art. Figuratively speaking, Philippe gains a spine and Driss, a brain.

Despite the fact that the film is a bit racist, the story a bit cliche, it's technical aspects are moderately good. There are some positive things to say, for example, on the film's portrayal of French suburban life, which is different from American suburban life and in the way it really does manage to demonstrate how two different personalities can indeed be compatible.

It is believable, and it should be: it is based on a true story. And racial tensions still do exist.  Whether or not it is believable, Les Intouchables does not strike a unique chord, nor does it deserve to go down in history as towering over classics such as Jules et Jim. 


See my Review of Parlez-moi de vous here.