Synopsis:
A rich tetraplegic, Philippe (Cluzet), employs a young man called Driss (Sy)
from the Parisian ghetto as his personal aid. The two disparate personalities
soon blend tremendously and they each gain new perspectives on life.
There is a improvised scene in
Gus Van Sant’s Good Will Hunting
where Robin Williams discusses his wife’s nervous bowels with his therapy
patient, the titular character played by Matt Damon. In this ten-minute
sequence there erupts between both actors laughter so genuine and infectious
that it has the audience in hysterics as well. For an isolated incident in a
rather hard-hitting drama, Good Will
Hunting is not the paramount example of this “infectious” laughter.
Thirteen years later comes Untouchable:
a film that is a great example and one that includes not one laugh-out-loud
moment but many, and one based on a slightly less dramatic but equally
inspiring story.
Harvey Weinstein bought the
rights to Untouchable meaning that
its chances at Oscar glory are rather good. Furthermore, with his huge
endorsement the film will fortunately reach more audiences. With a film so
charming as this there is also hope that word-of-mouth will additionally
elevate its profile - it is more than deserving of it. It is not always a
frolicsome film that highlights the joy of friendship; it also highlights an
array of social issues. With it being a true account of a wealthy tetraplegic
who employs a ghetto-dwelling youth as his aid, there may be concern over it
being a taut melodrama. At times in the
film tragedy does prevail over good-humour yet, overall, it likes to remain
jovial. It does not shy away from the more important matters of social class
and issues of discrimination. Paris is a capital like many others, at times
struggling with the conflicting social classes; writers/directors Olivier
Nakache and Eric Toledano constantly reminds the audience that stories like
Driss’ are so meaningful due to those social afflictions.
All the essential parts of a
masterful film are pieced together elegantly for the Untouchable but they would mean nothing without the aid of the two
leads. Perhaps it is an examination of
humanity or the rowdy, yet innocent, exuberance of Omar Sy’s Driss that strikes
a chord with audiences. Maybe it is the grins and grimaces of François
Cluzet’s Phillippe that are portrayed all-too-naturally, always gaining empathy
from the viewer. Most probably, it is the combination of the disparate double
act that evokes appreciation of the film. As you sit watching Sy and Cluzet
play off one another you begin to think of life outside the film where the two
must have become great friends. It is a sign of great casting when the
chemistry between actors emanates throughout the film (think of Pitt and Norton
in Fight Club or Redford and Newman
in Butch Cassidy and The Sting) – it fuels the movie in a
different way than the directing, editing or soundtrack.
The education Phillipe gains from
spending time in Driss becomes the audience’s education too; Driss sees the
world in a different way due to his background, but his refreshing assessment
of it inspires both Phillipe and the viewer. As the film finishes you are left
with a feeling of enormous gratitude – you have laughed, cried and learnt from
Driss and Phillipe’s tale. It is an emotionally invigorating feel-good film that
appeals to the humanist in all of us. Perhaps the only downside to the film is
the fact that it ends; much like spending an evening with some of your funniest
and charismatic friends, you never want the night to end and Untouchable carries that same sentiment.
No comments:
Post a Comment