Review Online Potiche Never Movie 2011

Review Online Potiche Never Movie 2011

Review Online Potiche Never Movie 2011

Review Online Potiche Never Movie 2011

One of the most enjoyable branches of Franois Ozon's film-making is his fondness for theatrical farce and borderline hysterical camp. It may come off a bit wonky in 8 Women (2002) but that film did at least introduce him to Catherine Deneuve; together they have whipped up the delightful fondant that is Potiche, loosely adapted from the stage and set in the provinces in a semi-fantastical 1977.

"Potiche" means trophy wife in French; that's wealthy bourgeoise Suzanne Pujol, coiffed, poised and, we are lead to believe, terminally airheaded. But in fact, she's just terribly sweet and polite and writes not-quite-awful little poems about squirrels and roses, and when her abrasively self-satisfied husband (Fabrice Luchini hyper-controlled but effectively developed) is kidnapped by the striking workers of his umbrella factory,

surprisingly, it is she who she knows just what to do. A late-night visit to the mayor secures his intervention; it's Grard Depardieu, an old flame with a smoldering torch. But he's also the only one in the film who is not really funny, striking instead a note of melancholy with the subdued desperation of an aging communist (20% of the French vote in 1977) looking to hang up the hammer and settle down to family life. Ozon take us out for a moment to pay homage, when Deneuve and Depardieu lock eyes on the dance floor of the splendidly divey boite, Badaboum!, together once again. But in her newly-found independence Suzanne has no time for that sort of thing and before long the men are reduced to hanging around like puppy dogs.

Further musical interludes, sunny 70s pop as perfectly deployed froth, are as inconsequential, apparently, as Suzanne's opinion. But it is part of the farce that such a bright and determined spirit would break out only now after so many years of subservient marriage. She's a perfectly-mannered Billie from Born Yesterday, with the same sweet surprise of self-realisation,

but the education here is her unexpectedly successful transformation of the factory while Pujol recovers from a heart-attack. Under Suzanne's gentle yoke the hairy unionists are subdued, the workers are harmonious and her children are by her side. Jrmie Renier is charmingly open-natured as her son the artist, his character revealed with delightful understatement, albeit the vessel of an incestuously homosexual subplot; daughter Jolle (Judith Godrche) and secretary Nadge (Karin Viard pert) complete the triumvirate of self-liberating women with Deneuve, whose path in an extension of the original play and evocative of more recent political events takes her all the way to the National Assembly.

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