Whatever

A film about a bored, depressed fortysomething in nineties Paris with a total lack of a sex life, and his bleak, morose views on life and women. Despite his depression and loneliness, 'Our Hero' seems reluctant to do anything about his problems, unlike his business friend Tisserand, who at least tries to attract a partner - but is doomed to failure every time. Well directed, with an intriguing narrative structure, this is an interesting film even with it's almost constant downbeat, depressing tone.

6.5/10.

Faithful adaptation of witty and interesting French novel about a cynical and depressed middle-aged software engineer (or something), relying heavily on first-person narration but none the worse for that. Downbeat (in a petit-bourgeois sort of way), philosophical and blackly humorous, the best way I could describe both the film and the novel is that it is something like a more intellectual Charles Bukowski (no disrespect to CB intended). Mordantly funny, but also a bleak analysis of social and sexual relations, the film's great achievement is that it reflects real life in such a recognisable way as to make you ask: why aren't other films like this? One of the rare examples of a good book making an equally good film.

It is an extremely difficult film to watch, particularly as it targets the innermost core of all of our lives. But ultimately it is a very beautiful and deeply moving film. Any person who finds it cynical I have to say that they must have greatly missed the point of the film's entire message. For those who actually watch the film, they will see that the way the issues are dealt with is absolutely necessary, and the outcome is ultimately uplifting. Sure, it's very hard to watch, a difficult subject matter and even brutal. Yet it's extremely relevant to society and everybody. It shows the peak of what world cinema is doing at the moment (I will not restrict that term to just France) and everyone should try to see it. I will say that it is best to go in with a clear head without being swayed by conflicting views, and just let the film work for you.

Having commented a few times on the decline of recent French cinema it is always a pleasure to report the discovery of works that run counter to this trend, the films of Andre Techine for instance. Although not quite in the same league as Bresson or the best of Chabrol or Truffaut, his films are outstanding because of the compassion with which he depicts his characters, generally young men caught up in adversity. Philippe Harel has achieved something similar in "Extension du Domaine de la Lutte" with a somewhat older pair of working men who are trying to face up to the fact that life is proving a disappointment. "Our hero", as the unseen voice-over narrator refers to him, is a computer systems salesman who, nearing his forties, has had no luck in attracting feminine affection. He lives alone and is unhappy and unfulfilled in his work. The youthful promise and enthusiasm for life glimpsed only in boyhood photographs have been drained out of him and he has all but given up on finding a lasting relationship. His colleague with whom he is obliged to share a sales promotion tour approaches a similar sexual predicament in a different way. Shorter and uglier he has adopted a defence mechanism of bravado and the bonhomie of the blue joke teller. He refuses to retire into his shell to the extent of continually looking for conquests in nightclubs. These always end in rebuttal with tragedy the eventual inevitable outcome. "Our hero" on the other hand finds a different sort of defence mechanism in voluntarily committing himself to a mental institution when no longer able to cope with normal relationships at his workplace. The film's conclusion is open-ended in its suggestion that he might be on the verge of finding a relationship but it only hints at the possibility. Such an outcome is by no means certain. The director has elected to play the central role and a remarkable job he has made of it, balancing stoicism with self-pity most convincingly. That we are offered such a three-dimensional view of his character is largely due to the way Harel shares that most French device, the voice-over commentary, between two narrators, an unseen storyteller and the character himself. The alternation of the two voices illuminates the central character in a way that justifies this narrative device more effectively than I can remember from any other film.

It is true that in some ways it is a bleak film but in no way is it depressing. It's got a similar feel to Neil Labute's In The Company Of Men, ie very very funny, everything shot through with a healthy dose of black humour. The climax in the club and on the beach are some of the funniest and breathtaking scenes I've ever seen in a film. The dialogue is spot on. It did take a short while for me to get the measure of this but once I was in I was hooked. It's definitely worth sticking with. I haven't read the novel so I can't say how closely it sticks to Houellebecq's material but I have read his follow up Atomised and was pretty underwhelmed for the most part so maybe this is a good thing.

All in all see past the downbeat tone and get to the heart of a completely irrelevant man who is not afraid to show it.