"Après vous..." is a gentle, screwball cross between "Cyrano" and "Down and Out in Beverly Hills," or, more accurately probably, its French progenitor "Boudu sauvé des eaux."
Daniel Auteuil very expressively plays a much put upon Good Samaritan, whose life and identity get more and more entangled with the object of his personal philanthropy. While the employment and romantic lengths that he goes to in helping his hapless beneficiary, who shares some foibles with TV's Monk, stretch believability, he is very amusing and certainly the viewer gets as caught up as he is in the ensuing complications, even if they do seem a bit endless.
One of its charms is that all the characters have saving graces. Unlike similar American movies, characters who are in the way of the inevitable are not shrill and the screenplay, co-written by director Pierre Salvadori, is not mean or condescending to them, as there is equal poignancy and laughter.
There may be additional jokes about French restaurants and cuisine that lose something in the U.S. as this is almost as much a restaurant movie as "Dinner Rush" or "Big Night." The English subtitles, when they are not white on white, have poor grammar and spelling, including inconsistency of a character's name.
The repeating amusing sounding pop tunes on the soundtrack seem to have some significance, but the lyrics are not translated.
Daniel Auteuil very expressively plays a much put upon Good Samaritan, whose life and identity get more and more entangled with the object of his personal philanthropy. While the employment and romantic lengths that he goes to in helping his hapless beneficiary, who shares some foibles with TV's Monk, stretch believability, he is very amusing and certainly the viewer gets as caught up as he is in the ensuing complications, even if they do seem a bit endless.
One of its charms is that all the characters have saving graces. Unlike similar American movies, characters who are in the way of the inevitable are not shrill and the screenplay, co-written by director Pierre Salvadori, is not mean or condescending to them, as there is equal poignancy and laughter.
There may be additional jokes about French restaurants and cuisine that lose something in the U.S. as this is almost as much a restaurant movie as "Dinner Rush" or "Big Night." The English subtitles, when they are not white on white, have poor grammar and spelling, including inconsistency of a character's name.
The repeating amusing sounding pop tunes on the soundtrack seem to have some significance, but the lyrics are not translated.