Ein Mann sieht rosa

English: "The Closet"

This reminded me in some ways of M. Hulot (Le Vacance de M. Hulot, the greatest comedy I've ever seen), in others of some of the best of the Alec Guiness comedies. Not for style but for quality. It's at their level.

There were fine performances by all the main characters but I was fascinated by the unfolding of the plot. All the pieces fit together so intricately and well and so few liberties were taken of normal human reactions -- almost everything was within comfortable bonds of believability. Well, there were a couple of minor stretches -- the catalyzing role of a sexual encounter in finally transforming M. Pignon's personality was one, but wouldn't that be quaintly Gallic? And the transformation of his son was another, but then -- teenagers can sometimes be unpredictable, can't they? And it had only one broad sterotype, Mr. Santini (Gerard Depardieu). I left the theater amazed at how well the various facets of the plot fit so well together that it reminded me then of a Chinese wood block puzzle; now, a week later, that still seems most fitting.

This is _not_ a movie about being gay; that's only the gas that fuels the car that takes the people on that trip. It _is_ an observant, droll film about office politics and the way people's views of others can be distorted by labels. I'm sure -- within a few years -- this will be considered a classic and deservedly so.

Faced with a choice of American "look-alike" movies, I watched this little gem on the basis of the cast alone. What an excellent choice!

This is a brilliantly funny movie, with some unforgettable moments - particularly the "testing department" sequence in the condom factory. The story is amusing, the cast are perfect, particularly Gerard Depardieu's hilarious, touching, crazy mixed up macho/gay guy. The premise, that in order to keep his job a colourless little accountant has to pretend that he is gay (a very tongue in cheek comment on prejudice here) - the can of worms that he opens up has many aspects, both good and bad. And they gave us a happy ending - what more can one ask for? Recommended.

This is a delightful character study and social commentary masquerading as a broad farce. It is very, very funny. They avoid cheap "queer" jokes and cheap "homophobe" jokes even as they bluntly portray attitudes about homosexuals. Even though they use very real language to illustrate the attitudes. There is some great acting throughout. Each of the characters is a study in itself. The homophobic character (Depardieu) emerges as intriguing and sympathetic, where it could have been two dimensional. The relationship between Auteil and Aumont almost brought me to tears. The transformation of the lead character is believable, despite the improbable context that the film creates. The final scene with his ex-wife is powerful. Others have pointed out that the lead character never changes, the perceptions of others change. This makes his actual transformation that much more effective. This movie is a real find.

This amiable and amusing film is delightful as it plays around with political correctness, homophobia, machismo, and business management.

The dull-witted and just plain dull main character keeps his job by pretending to be gay -- at the suggestion of a neighbor who is an industrial psychologist that once lost his own job BECAUSE he is gay. With that premise, the film is off to a wonderful series of misunderstandings and revelations as our hero discovers a great deal about life, people around him, and most of all, himself. The fact that all of this takes place is a very prim, high-tech condom factory makes the comedy all the more lively.

I wasn't expecting the lift that the film gave me. It has a flimsy giddiness about it lacking in most comedies about being gay or straight or anything else. See it if you get a chance.

Anti-discrimination laws are given a tweaking in this light, amusing French comedy. Auteuil plays an unassuming, rather colorless, 20-year employee of a condom factory. When, one day, he is told that he will be let go due to corporate downsizing, he is suicidally despondent. However, a caring neighbor (Aumont) devises a scheme that will possibly save Auteuil's job. He decides to "out" Auteuil as gay so that the dismissal will look like discrimination, thus panicking the company into keeping him on staff. This act sets into motion a number of comical complications, much of which involve the company macho man/bully (Depardieu) and Auteuil's boss Laroque. The film is pretty superficial and doesn't really delve into all the ramifications of it's storyline situation, but it does provide some easy laughs and some strong performances throughout. Auteuil is properly average, yet eventually ingratiating. Depardieu shows why he's one of France's top actors with a right-on, finely nuanced portrayal. His is probably one of the most complicated characters in the film and he handles it well. Laroque is an attractive and solid presence as well. Aside from a host of good actors, the film also boasts a gorgeous production design. All of the costumes, sets and color schemes come together to create a distinctive and pleasing look. The plot is almost paper thin and characters don't often act as real people would, but this is a farce and, as such, it delivers some amusement and interest. One disconcerting thing is the level of cruelty in some cases. One character is savagely beaten and another has his life virtually destroyed all in the name of "fun". This could be due to a different perspective between a U.S. viewpoint and a French one. It tarnishes the goodwill and fun of the film, but only slightly. Mostly, it is a pretty and frothy concoction (complete with one of the most adorable kittens ever seen on screen) that shouldn't offend or upset any of it's target audience.