Eine merkwürdige Karriere

What I mean is that this kind of scheme, plot, had already been told in the seventies, but not that much, but from this period, eighties and nineties, and even after, there will be dozens of French films speaking of the inner companies struggles, feuds, human resources fierce trench wars...CAROLE MATHIEU, RESSOURCES HUMAINES, CORPORATE and many many more. Unfortunately a forever modern scheme. Rivalry, pushism, careerism "bloodthirsty and brutal" fights among managers, supervisors, executives; folks ready at anything to rise in their companies, even ready sacrifying their private lives...Lanvin, the promising Lanvin facing a terrific Michel Piccoli at his very best.

What if a man doesn't fit the role of being the centre of his loving wife's life but jumps instead to the opportunity of getting invaded and absorbed by his new boss who expects from him and two colleagues that they constitute a team without borders of privacy like one body and the boss as the ruling head?

"Une étrange affaire" is Pierre Granier-Deferre's magnum opus,where he goes for broke and proves he can be brilliant.He made another important work at the beginning of the seventies "le chat" but it owed a great deal to its stars Gabin and Signoret.Here,there's a veteran, Michel Piccoli,and Gérard Lanvin,a generally unambitious actor,finds his best part.But it does not explain everything:the screenplay is very well constructed,the atmosphere stifling and the hero seems to be caught in a giant cobweb.

First part depicts the fears of the employees of a department store :a new boss is about to arrive and some skivers are in a cold sweat about it.All rings true,and the whole cast is really excellent.

Enter the new boss,Piccoli,who will not be the one everyone expected:he's a bon vivant and he treats Gérard ,the hero, as a friend.He takes him to chic places,where the young man feels like a bull in a china shop,he gives him responsibilities and promotion is around the corner.

When the future seems brighter than ever ,it's actually the beginning of the end:his wife ,Nina (a lucid sensitive Natalie Baye) ,has cleverly noticed something was wrong:actually the boss and his beaming but disturbing henchman (Jean-Pierre Kalfon) are making her husband their thing,a slave at their beck and call.They even look into his private life ,and one night,the boss even requisitions the apartment and the couple's bedroom ."You do not exist anymore" says the wife as tragedy is impending.

The boss 's method is some kind of professional fascism,which destroys all that makes a man a human being.It's all the more terrifying as the Master is always friendly,joking,smiling and even fascinating.The conclusion ,which refuses the happy end will give you the jitters.

A strange affair indeed.highly recommended.

Louis Coline tries to keep up with his demanding wife and an equally demanding boss. They both want something else of him. How to cope with this? I liked the theme of how work can have an immense influence on your life. Louis is under pressure and we see him trying to cope with it. How would you respond when at midnight your boss (Michel Piccoli) and his aid (Jean-Pierre Kalfon) are on your doorstep and seconds later they are in your kitchen baking an egg? Shaving naked in your bathroom the next morning? And your wife wants to leave in her nightgown in the middle of the night?

I did not enjoy the film thoroughly, unfortunately. I waited for the magic to happen but it never came. The reason is, I guess, that I found the film just too regular. A regular story about a regular guy, living with other regular people, in a style of filming that is equally regular. It was visually not very enticing. I am not familiar with the work of Pierre Granier-Deferre, but my guess is it shall be mostly slow and observing.

I wouldn't go as far as calling the film bad. It is a solid production after all. It also boasts a couple of decent actors, Gerard Lanvin in his early years being surprisingly sensitive; Nathalie Baye as his wife; and Michel Piccoli as his boss. But it was actually only Jean-Pierre Kalfon who was outstanding (he would've fitted greatly in The Wolf of Wall Street).

On the other hand this observing style works fine when you watch the film as some sort of time machine, to have an honest view of life in 1981 (and not the punky kitsch version of these years the media has invented). As how it was for probably most people: working, family, eating, sleeping. Not as different as life nowadays.

An affair less strange than ominous. Upon confrontation with his new boss, whom he has awaited fearfully because of announcements of his rigor, a small employee gratefully accepts the role as a humble servant without realizing that his whole life is slowly transformed into a sort of "free slavery". He is so eager to participate in the system that he ceases to question any of the strange encounters he has with the boss and his obedient followers. His own life stops and is replace by his position as a puppet. In the end, when everything is gone, he is still incapable of refilling the gaps. A striking study on accommodation and the loss of self.