Potiche

Of course I was a bit on the defensive having tickets for a film starring several famous actors with a long history in major roles, like Catherine Deneuve and Gerard Depardieu. Though fearing a sort of reliving-past-glories event, embarrassing for actors and viewers alike, it was a relief that I was proved wrong in my expectations. My final conclusion is that the film is entertaining throughout, after starting a bit weak. As a result it will entertain a large population of viewers.

The only minus points I have lie in the first 15 minutes. Especially the opening scene did not bode well for the rest. We see Catherine jogging and interacting with animals. Subsequently, in the same 15 minutes, my worst feelings seemed further confirmed because of a few scenes with family members. It showed a lot of overly emphasized role playing, each doing his very best to highlight the bad elements of their respective characters.

Past that opening exposition of main characters, the story took off and kept us all awake for the remainder of the time. What happens with the members of the family and the people around them, is very diverse and full of surprises. None of it can possibly be predicted.

An array of developments and complications unfold. All of these build on the good and bad psychological properties shown earlier, together making up the main character roles. In spite of what I said before, we see that aforementioned opening scenes are paying back, after all. The overacting that I observed in the opening scenes, may be only my imagination, being the result of my initial (wrong) attitude.

Review of POTICHE (Trophy Wife) The Good

It's a a frothy comedy, but managed to touch upon complex issues of gender, personal triumph and defeat, marriage crisis, ideologies and political dynamics intertwined with personal lives. It's done so without getting heavy, almost effortless, making the viewing experience a delight.

Suzanne Pujol is another star vehicle for Catherine Deneuve. And no matter how many times I've seen this, and regardless of her age, she seems to deserve it as her birth right. Deneuve bounced off descent performances by a star line-up of half of the who's who in French cinema including the likes of Gérard Depardieu, and it was fun to watch.

The plot and the ending are not over the top, though very polished still somewhat true to life. Easy said than done for a personal triumph story in a light comedy.

The Bad

Deneuve seems to be having so much fun in her role, but I never quite cared as much. At more than one occasions, their performance may appear effortless at first, but getting thin and tiring quickly. The characters' youthful indiscretions, twists and turns in the plots seem to be strong spices without good food to cling on to.

The Ugly

It is so polished that, at times, I feel three or four short trailers would have done the job. Kind of like visiting a small pantheon of contemporary French acting Gods in a lazy Sun afternoon.

Based on a French play, Potiche (aka. Trophy Wife) is set in 1977. Suzanne Pujol (Catherine Deneuve), a 'trophy housewife', finds out she must step up to manage her tyrannical husband Robert's (Fabrice Luchini) umbrella factory after the workers go on strike and take him hostage. To everyone's surprise, Suzanne proves herself to be a very competent leader of action. Her adult son and daughter also start to take more interest in the workings of the factory. Things get complex, however, when she bumps into her old flame and local politician, Maurice Babin (Gérard Depardieu), and her husband returns to take back his job.

Whenever a film of recent years, like this one, try to fully capture the feel and style of a 70's film (or anything retro) with editing, camera tricks, and colors reminiscent of that era, I can't help but smile. Had I not known that this film was made in 2010, I could have been convinced that this was a film made in that decade. Of course, this is aside from the dead giveaways to the contrary with the appearances of well-known French actors who have obviously aged.

Directed by François Ozon (Swimming Pool), this is a well-done, entertaining and visually attractive satire. A mixture of pastel and hot colors permeate throughout the film, along with bell-bottoms, retro hairstyles, design patterns, and clothing. The colorful umbrellas in the film are perhaps a good reminder of Deneuve's older, famous film, The Umbrellas of Cherbourg. The colorful, playful, comedic tone of this film remains consistent, yet there are just enough complexities in the plot to keep the film from getting dull. Advertisement

Admittedly, there's something rather monotonous about casual adulterous relationships in French films. It's almost expected in a French comedy (Unlike in America, French must find adultery sooooo funny). Robert has a mistress who is also his secretary, Nadège (Karin Viard), whom Suzanne knows about. Nevertheless, Suzanne is content with her life at home as Robert provides for her, materially. Once Robert is taken hostage and Suzanne takes over as manager of the company, the secretary becomes one of her closest allies. Meanwhile, her son Laurent (Jérémie Renier) and her daughter, Joëlle (Judith Godrèche), help out on the company as well, which does bring the family together more than before.

Catherine Deneuve is quite likable in this film. It's hard not to cheer for the initially soft-spoken Suzanne. She is a cheerful character with a certain naïve optimism that makes her charming to people around her. And, well, she gets things done. Once she is proved to be a fairer and better leader than Robert, one can't help but be engaged in what she will do next. There is a side story regarding her past affair with Maurice (Depardieu), who still has feelings for her. The relationship between them does not take a typical turn, which I appreciated. While Robert comes off mostly as a buffoonish character, he isn't portrayed as someone to be simply reviled, thankfully.

Overall, this is a colorfully entertaining, satirical film with playful characters and a nice retro style. Catherine Deneuve is a lot of fun to watch, and while this is not a subtle film by any means, it has enough energy and humor to be engaging throughout.

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The film is a washout.I can't for the life of me imagine why anyone would give this a good review, unless (as it would appear) they a) expected something terrible or b) it was a welcome relief from watching a spate of other movies at a festival. It is a fine tribute to Catherine Deneuve, stop. Well, maybe also a pleasant appearance and tribute to that vastly overweight, but also vastly likable and talented Depardieu. The acting otherwise was atrocious, the characters caricatures. The plot in itself was credible enough and could have been followed quite successfully to some conclusion, but then takes some uncalled for and inexplicable turns which don't do anything to resuscitate a hammy production. Avoid it unless your only other option is a colonscopy.

This film was primarily a glorification vehicle for former world beauty and French film icon Deneuve that got way too precious and obvious in its abject adoration by the end. This comedy about a tough factory owner who was kidnapped by his workers which allowed his more caring wife to take over his job was a bit better than TV quality fare and not much more than a mostly pleasant way to spend a couple of hours seeing how much a once great beauty has aged since her spot at the top of French cinema in the 60s and 70s. Deneuve's acting skill has not declined as much as her looks have but it has not improved much since then either, as her even, vapid personality made her role mostly uninteresting to me in this film just as most did back in the day. Other than her deserved status as a very attractive woman, there never was much there there. However, film always has been the showcase for the most beautiful women, as they do sell tickets no matter what kind of "acting" they do, as it's their "being" that counts more to an audience, especially to men. To their credit, the French are very appreciative and adamant about their icon worship, done very well recently in "The Illusionist" starring a graphic character of the incomparable Jacques Tati, but they went too far with little quality in Potiche.

Vehicle movies are pure vanity pieces and often dismissed as fluff homage, and usually do not recover the cost of making them as they mostly do poorly at the box office due to their too-obvious glorifying agenda where story is very secondary to the primary purpose of overt and excessive icon adoration. This film may do fine in France, but I fully expect very poor box office to be the case in America.