Reviews

WARNING: Contains some plot details This film is a good example of why French films often don't make the transition to American films. The 1993 French original, "Les Visiteurs," was for many years the all time box office champion in France. It succeeded on a number of levels. First, it was a clever time travel film about a French knight and his serf who travel from medieval days to modern day France and meet their ancestors -- a Back To The Future in reverse. Second, it was a charming fantasy with almost Disney like qualities, especially in the 20th century, when our French knight and his serf find kind and sympathetic help from Beatrice, the only one among their descendants who really believes who they are. Third, and perhaps most significant, it was a clever satire about French society. Imagine when our medieval knight makes it to modern times only to discover that his castle is now owned by the descendants of his serf. What follows is a delightful story that is a humorous and often poignant commentary on who and what we are. Sadly, most of that was lost in this American remake --not that the producers didn't try to retain the same magic. They brought in the same two principal actors, and much of the same production crew. It appears, however, that they made one big mistake in the hiring of John Hughes as a writer. What you see here looks too much like a Chicago based John Hughes brat pack film and not enough like an ingenious comedy satire. In addition, much of the Disney like awe and fantasy are also gone. (Ironic, since this was a Disney film.) Instead, our American actors are too hip and streetwise to care as much as they should about what they are experiencing. (So why then should we care?) Given all of the rewriting going on in Hollywood these days, it may or may not have been all John Hughes' fault. Nevertheless, a real opportunity was squandered here, as what was so powerfully stated in the original film was lost in this translation. What we learn about film making once again is that writing is the key element. In the case of adapting a foreign film, it takes an intimate understanding of both cultures to pull it off. When it works, it can be wonderful. Other times, not so wonderful.

WARNING: Contains some plot details Until the release of Amelie recently, Les Visiteurs was the all time box office champion in France. It succeeds on a number of levels. First, it is a clever time travel film about a French knight and his serf who are suddenly whisked from medieval days to modern day France and meet their ancestors -- a Back To The Future in reverse. Second, it is a charming fantasy with almost Disney like qualities, especially in the 20th century, when our French knight and his serf find kind and sympathetic help from Beatrice, the only one among their descendants who really believes who they are. Third, and perhaps most significant, it is a clever satire about French society. Imagine when our medieval knight makes it to modern times only to discover that his castle is now owned by the descendants of his serf. What follows is a delightful story that is a humorous and often poignant commentary on who and what we are. Jean Reno and Christian Clavier are excellent leads, and Valérie Lemercie shines brightly as Beatrice. There are universal themes here, and even if you don't know a lot about French culture, you will surely enjoy them.

WARNING: Some details of the plot are revealed.

What I liked about this movie initially was it's realistic portrayal of French teenagers. At the beginning of the film, you get a good sense of what life must be like at a French high school. And throughout the film, you notice the similarities -- as well as the differences -- between life in France and life in your own country. But the film is ruined by it's main plot . When a teacher seduces one of his students and then dumps her after doing "the act," she becomes very depressed. She shows up for his class a few days later and abruptly jumps out of the window. We learn that she was unstable and had attempted suicide before, but the students justifiably want the teacher fired. Later, when they discover that the harassing teacher is also a neo Nazi, they decide to take the matter into their own hands. "He must die," says one of them, and they proceed to carry out the dirty deed. The police investigate, but ultimately they don't even care enough to find out who pulled the trigger. After all, he was a Nazi. What this film tells us is that any high school teacher who goes so far as to seduce one of his students is so bad that he probably deserves to die. It says that deep down inside anyone like that must be something evil like a Nazi anyway. What could have been an excellent film dealing with an extremely sensitive subject degenerates into a tired ultra feminist tome. Too bad. it could have been much, much more.

There are many levels of emotional drama that are much more common in French cinema than in the United States. While American moviegoers tend to demand action and fast-paced dialogue in their films, French moviegoers are much more comfortable with films that explore the ways people deal with relationships, especially when they also poke a little fun at society.

This particular film does both in a way that is totally French, and simply cannot be understood in an American context. It is serious and yet it is light. Readjusting to life after serving a term in prison which he felt he did not deserve, a French executive mocks conventions even as he struggles with finding himself.

It's a good-natured kind of French cynicism that delights and annoys at the same time. From mocking people in a restaurant to wondering what's up at work to an innocent flirtation with a beautiful young woman, the focus is on the emotions, with a depth seldom found in American films.

Enjoyable for those who are tired of more of the same.