PARIS -- It has taken director Coline Serreau 18 years to tackle a sequel to her highly successful "Three Men and a Cradle". The result of nearly two decades of reflection is a gentle, engaging comedy that wisely avoids retreading old ground.
Back in 1985 when Serreau hit the jackpot with her satirical take on fatherhood, there was a wealth of untapped comedy in the idea of three single men bringing up a baby. Eighteen years later, and the world has evolved. Audiences are no longer strangers to the role fathers play in child rearing. Eighteen years later, Jacques (Andre Dussollier), Michel (Michel Boujenah) and Pierre (Roland Giraud) are now watching from the wings as the teenage Marie Madeleine Besson) prepares to leave the nest. Her mother, Sylvie (Philippine Leroy-Beaulieu), lives in the States and has remarried. She is spending the summer vacation in the south of France with her new American husband and his two teenage sons and invites Marie along. With Marie gone, the three men find their private lives sadly lacking and are soon on their way south.
This sequel springs no surprises. The focus of the film centers on how the three men deal with Marie as a young, independent women. And with some superb ensemble acting from Dussollier, Boujenah and Giraud, the process is both funny and poignant. Serreau hasn't missed the opportunity to revisit some of her favorite themes -- the relationship between men and women and the differences between generations. But there is no battle between the sexes or generation clash. Set against the backdrop of a scorching Provencal summer, relationships ebb and flow at a slow, almost hypnotic pace. Serreau's only dig comes at the expense of the American husband and his sons. John (Ken Samuels) is portrayed as a highly competitive, middle-aged man. The sons neatly fall under the headings "drop-dead gorgeous" for the older and "spotty geek" for the younger. Even here, the barbs are blunt, and it's difficult to take offense at such obvious cliches.
The three main actors step back into the original roles as if they have never been away. It's a rare treat to see a film where the actors have genuinely aged and matured over a period of time. Admirably supported by Besson and Line Renaud as the governess, this film cannot fail to delight.
Back in 1985 when Serreau hit the jackpot with her satirical take on fatherhood, there was a wealth of untapped comedy in the idea of three single men bringing up a baby. Eighteen years later, and the world has evolved. Audiences are no longer strangers to the role fathers play in child rearing. Eighteen years later, Jacques (Andre Dussollier), Michel (Michel Boujenah) and Pierre (Roland Giraud) are now watching from the wings as the teenage Marie Madeleine Besson) prepares to leave the nest. Her mother, Sylvie (Philippine Leroy-Beaulieu), lives in the States and has remarried. She is spending the summer vacation in the south of France with her new American husband and his two teenage sons and invites Marie along. With Marie gone, the three men find their private lives sadly lacking and are soon on their way south.
This sequel springs no surprises. The focus of the film centers on how the three men deal with Marie as a young, independent women. And with some superb ensemble acting from Dussollier, Boujenah and Giraud, the process is both funny and poignant. Serreau hasn't missed the opportunity to revisit some of her favorite themes -- the relationship between men and women and the differences between generations. But there is no battle between the sexes or generation clash. Set against the backdrop of a scorching Provencal summer, relationships ebb and flow at a slow, almost hypnotic pace. Serreau's only dig comes at the expense of the American husband and his sons. John (Ken Samuels) is portrayed as a highly competitive, middle-aged man. The sons neatly fall under the headings "drop-dead gorgeous" for the older and "spotty geek" for the younger. Even here, the barbs are blunt, and it's difficult to take offense at such obvious cliches.
The three main actors step back into the original roles as if they have never been away. It's a rare treat to see a film where the actors have genuinely aged and matured over a period of time. Admirably supported by Besson and Line Renaud as the governess, this film cannot fail to delight.
- 2/11/2003
- The Hollywood Reporter - Movie News
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