Showing posts with label Dany Boon. Show all posts
Showing posts with label Dany Boon. Show all posts

REVIEW: DVD Release: Bienvenue chez les Ch’tis























Film: Bienvenue chez les Ch’tis
Release date: 4th April 2008
Certificate: 12A
Running time: 102 mins
Director: Dany Boon
Starring: Kad Merad, Dany Boon, Zoé Félix, Lorenzo Ausilia-Foret, Anne Marivin
Genre: Comedy
Studio: Pathe!
Format: DVD
Country: France

Breaking box office records in France upon its release, this comedy by actor-director Dany Boon has been such a hit with the public and critics alike that a Hollywood remake starring Will Smith is underway.

Welcome to the Sticks, as Bienvenue chez les Ch’tis translates, is the story of Philippe Abrams (Kad Merad), a post-office worker from Provence in Southern France.

In order to please his depressed wife, Julie (Zoé Félix), Philippe comes up with a scam to try and get relocated to the sunny Riviera. However, he is rumbled by his superiors, who immediately exile him to the small, dead-end town of Bergues, in the Nord-Pas de Calais region of Northern France, where the strange, half-savage inhabitants greet him in unintelligible patois – the Ch’ti dialect of this region.

Though his fellow co-workers at first only reinforce Philippe’s stereotypical views of this region, he slowly begins to get to know them - and discovers that his misconceptions were completely wrong. He becomes friends with his co-workers Antoine (Dany Boon) and Annabelle (Anna Marivin), and is soon immersed in the daily life of the friendly town. His problems are not over, however.

His wife refuses to believe that he is having a good time, and thinks he is just putting on a brave face. He gives up trying to convince her otherwise, and things seem to be going well until she decides to come and visit him. More deceptions ensue, and Philippe tests his new-found friendships to the limit, with hilarious results...


The plot is not the most innovative in the world; sophisticated southerner moves to the grim north against his will and finds that it’s not as grim as he imagined. However, in this film, it doesn’t feel like a cliché; the comic script is brilliant, with an emphasis on clever wordplay. Despite the film’s huge success in France, and other francophone countries, it is little-known in the UK. It is perhaps hard to imagine how French wordplay can work in English subtitles, but it does. It works very well in fact - the subtitles are almost an art form of their own with their wry substitutions for the French misunderstandings.

Furthermore, the inhabitants of Bergues are not just the naively endearing characters one might expect from this type of film - that would have left it floundering within the realms of cliché. In contrast, they are fully-formed individuals, and the women, in particular – Annabelle and Antoine’s mother – are intelligent and formidable.

Kad Merad and Dany Boon shine in this film as the two unlikely friends. They have worked together before, and it shows - they make the perfect double-act, and the comedy zings between them as they struggle to understand each other. Anna Marivin also stands out as the no-nonsense Annabelle - the interpretation of this character could have become very two-dimensional, but Marivin has made her a rounded, complete character. The comic interactions between the characters and the skill with which the actors pull it off, making it seem effortless, really lifts this film.

Boon is an astute director, who deliberately overplays the stereotypes before completely overturning them so that it is very tongue-in-cheek. This is illustrated best with Philippe’s journey to Bergues: he is first cautioned by the police for driving too slowly, so reluctant is he to get there, and the moment he passes the sign, announcing he is now in the Nord-Pas de Calais, it immediately tips it down with rain. This film does not take itself too seriously, which would have otherwise undermined the comedy. It does, however, demonstrate a sincere, genuine affection for the Ch’ti region and its people, and this shines through.

This is the success of this film, apart from the obvious comedy. It is a film with a heart. Dany Boon is himself a Ch’ti and, since this film, the region’s champion and hero. Never before has the area been portrayed in such a prolific and positive way. Audiences have fallen in love with this film, and tourism to the Nord-Pas de Calais has increased tenfold. This is in no small part due to the creation and development of the characters. They at first seem like caricatures, but develop into real people, with the kinds of feelings, behaviours and idiosyncrasies that the audience can relate to. Antoine’s words to Philippe, “A visitor to the north cries twice: once when he arrives and once when he leaves,” resonate - Philippe despairs when he arrives in the town and we see it through his eyes; a dismal, desolate place in the cold, grey north, but we, like Philippe, connect and empathise with these people. Although the title Welcome to the Sticks has a certain irony to start with, at the end, there is a real sadness when it comes to saying goodbye to the Ch’tis.


One of the most original comedies to come out of France in recent years, this is an intelligent and riotous take on French stereotypes – don’t miss it! KS


REVIEW: DVD Release: Micmacs























Film: Micmacs
Release date: 21st June 2010
Certificate: 12
Running time: 101 mins
Director: Jean-Pierre Jeunet
Starring: Dany Boon, Andre Dussollier, Nicolas Marie, Jean Pierre Marielle, Yolande Moreau
Genre: Comedy/Crime/Action/Romance
Studio: E1
Format: DVD & Blu-ray
Country: France

With Amelie and Delicatessen now widely regarded as classics in film comedy, and world cinema in general, the big question ahead of Micmacs’s much-hyped release was if it could possibly live up to now bloated expectations of the director.

The story starts with a roadside bomb fatality. The unfortunate’s son, Bazil (Dany Boon), grows up without his father, but he’s found some contentment working in a video shop. Now, over thirty years since his father’s demise, Bazil survives a random bullet to the head that is too risky for doctors to remove. After learning he must live with this precarious bullet, which may take away his life at any moment, his time in recovery causes him to lose his apartment and his job. A man now with nothing left to lose, he steals his hat back from a child and goes on his way, using his cunning and schemes to survive on the streets.

A chance meeting with Placard (Marielle) leads Bazil to a salvage yard and a group of misfits he comes to know as his ‘family’. The oddball group are experts in salvage and repair, all of them sharing some sort of bizarre physical intimacy with metalwork in their bodies. Seeing him as one of their own, they are ready to help Bazil exact playful but meticulous revenge on the two people who’ve wronged him in his life - the makers of his father’s fatal roadside bomb, and the makers of the bullet still lodged in his head…


This film, coming from the hands of Jean-Pierre Jeunet, is, of course, a wonderfully theatrical piece of storytelling. An unconventional opening to a comedy with a roadside bomb fatality maybe, but it sets the tone, and leads the way for a whole plethora of characteristically quirky moments from Jeunet. These are woven together through the revenge narrative that highlights the contrastingly stern subject matter of the arms trade. Of course, it’s these quirks that scream of Jeunet’s style; Bazil sucking salad cream from the sachet, an amorous couple exploding on a land mine, and even the credit sequence seamlessly entwined with a film within the film.

The family are full of idiosyncrasies, mirroring their home of collected damaged household items, with their talent and teamwork bringing them back to life. Hilarious and subtle performances from many of the family, notably Dominique Pinon as Fracasse - a hot-headed human cannonball, always at home in a Jeunet film - and Marie-Julie Baup (the talents of Calculette being instant visual calculation of size, weight or distance – this will prove very useful as the revenge scheme is put into practice).

The relationship between Bazil and La Môme Caoutchouc, the contortionist of the group, brought some touches of sentiment to the story – but it wasn’t weighted or explored significantly enough to have the right balance. Bazil could have fallen with more gusto, and given him more to risk. The family were literally shooting themselves out of cannons for him, and if Bazil had become more emotionally involved, it would have upped the ante. Despite this, a bright spark leaps from the screen the moment Bazil bursts into song down the chimney to where the contortionist is putting her skills to use in the villain’s domain. It was a surprisingly sweet moment.

Fortunately, an underdeveloped romantic subplot doesn’t tarnish the experience. Each frame is measured and absolutely makes the most of the production design, from the sweeping shots of landmine-scattered landscapes to the intimate points of view moments. The salvage heap, home to the family of oddballs, lays host to some genius mechanics and design, and all married by perfect grading.

Perhaps this detail is overwhelming, and that Jeunet’s almost obsessive attention to detail is unnecessarily OTT, but this an intentionally theatrical experience.


Transporting you to a bizarre world, this funny and intricate story is what Jean-Pierre Jeunet does best – even if it doesn’t quite reach the dizzy hits of Delicatessen or Amelie. VB