THE INTOUCHABLES (2012)

Genre: Drama
Director: Eric Toledano and Olivier Nakache
Cast: François Cluzet, Omar Sy, Anne Le Ny, Audrey Fleurot, Clotilde Mollet, Alba Gaïa Kraghede Bellugi, Cyril Mendy
RunTime: 1 hr 52 mins
Rating: NC-16 (Some Coarse Language)
Released By: Cathay-Keris Films
Official Website: http://weinsteinco.com/sites/the-intouchables/

Opening Day: 13 December 2012

Synopsis:  A true story of two men who should never have met - a quadriplegic aristocrat who was injured in a paragliding accident and a young man from the projects.

Movie Review:

It's hard not to like The Intouchables. Chock-full of light-hearted fun, the film has the safe and winsome blend of comedy and tender moments that had me grinning from ear to ear in several scenes. The star of this film is without a doubt, Driss, the unlikely choice of caretaker to a wealthy quadriplegic Philippe (played by François Cluzet). Omar Sy, who won the César award for his brilliant portrayal of Driss, presents his character like a quieter but more angst-filled version of Chris Tucker (who is, coincidentally, in talks to do a Hollywood remake of The Intouchables) in Rush Hour (1998). As a raging, straight-talking ex-con who wears his emotions on his sleeves and none of the pretentious inhibitions of the upper class, Driss is charmingly uncouth. Yet while he appears all but interested in the affairs of others—let alone a sullen quadriplegic—we soon come to find that Driss’ feral antics and devil-may-care attitude potently combine with his dormant compassion to form the balm for Philippe’s depression and the two men develop an unforgettable friendship.

Now there have been many films made about the bond between caretakers and their charges. The common themes in Scent of a Woman (1992) and The Diving Bell and the Butterfly (2007) typically revolve around bucket list aspirations and learning to live a full life despite physical constraints. So what then, does The Intouchables have which these other films don’t?

For one, it has—and here’s the controversial part—the sensitive race factor. Despite being the second biggest box-office hit in France, the film has also received much critical backlash over its racial depictions. Think about it: Driss’ character as the raging, fuming “native” who finds himself—or civilization—through painting, and Philippe as a benevolent white “master” who helps him unearth his raw talent? There are underlying dynamics that are all too resonant of a Caliban-and-Prospero type pairing, and to have images like that startling apparent in the film, and in this age, is mildly disturbing. Because of the way in which these clichés and stereotypes are milked for comic effect, the film more often comes across as American-slapstick than quirky French fare. Comparisons have been made to the schmaltzy Hollywood hit Driving Miss Daisy (1989), and so for a film that is France’s official entry for the Best Foreign Film category in the 85^th Academy Awards, it is, in this aspect, strangely un-French.

However, the unabashed portrayal of racial stereotypes is also partially and precisely why filmmakers Olivier Nakache and Éric Toledano should also be credited for their bold and daring gamble in unflinchingly portraying glaring realities. The class divides, racial inequalities and immigrant-anxieties explored in the film through Driss’ family are all rampant in today’s society, however unpleasant they are, and however much we like to sweep them under the faux-carpet called “tact.” For all of these, The Intouchables is an intensely paradoxical film that should stop anyone short of saying that whatever it depicts is wholly tasteless.

The controversial race card aside, there are slips—moments when the humour becomes a little too forced, or a comedic arc pursued way past its due, like the scene in which Driss dances to an Earth, Wind & Fire single that started out somewhat endearing but turned into something quite corny and contrived.

Thankfully, good editing, very strong acting from Omar Sy, “based-on-a-true-story” credentials and some breathtaking camerawork in several scenes do a lot to make this film a thoroughly watchable one, saving what could have been a potential flop.

Will it bring home the Oscar? It’s still too early to say—and much of it depends on the quality of this year's entries—though I believe that even as it rakes in impressive score cards, The Intouchables is simply not enough for stronger contenders out there. It could be the glaring clichés and predictable stereotypes, or simply that a good film can always be too easily overlooked for a “groundbreaking” one, which in this case, does not cut as one.

Movie Rating:

(Regular Joes will be smitten by this film, while more discerning audiences can still find many moments a delight. A trip to the cinema is quite a win-win for everyone here.)

Review by Tay Huizhen