Tante Danielle

This should be a cult film for those with mean elderly relatives. We have recommended this to folks with hypercritical mothers, mothers-in-law, and others, who also said "She's mean." And nobody else believes them, because the relative can be just so nice to others. we've seen the little smirk that comes across her face when she makes somebody else suffer. She is also willing to suffer herself, if it means others suffer even more.

This film rings so true that it must have been based somebody's actual experience. Packaging family angst as a comedy probably wouldn't sell in Hollywood, so we have to pick this up from the French.

Cinematically, it's better than average, with notable performances from Tati and her niece and nephew.

It's charming and amusing to boot.

I can't think of how Holloywood would do a remake of the fine film of social manner "but" I hope they don't bother. The comedy never stops, Tatie Danielle is everyones favourite Aunt, we all love to hate her, and its not that difficult. One of my favourite scene is the bit when the "dog" gets dump in a Paris Street, (removing its collar, so that it can't be identified. The acting is very good. There are some very beautiful women in the film, including the young nurse in the hospital. The film is very French and one can learn a lot about the modern middle class in French today, just by looking at this film. Another plus, the film gets better with repeated viewing, and I have seen it about six or seven times already.

Tatie Danielle is one of the most gaspingly unpleasant films I've seen for a long time. It's 100% cynical, negative and meanspirited.

Auntie Danielle is the most callous old bag I have ever clapped eyes on. Seizing on everything her long-suffering family does to help her, and turning it inside out, she is a great example of the constant victim. Never happier than when whinging, she's a spiteful bully, and is heartless in the extreme. When she finally meets her match, the film is turned completely upside-down, which is nice to see.

I laughed lots, needless to say.

Don't miss this film: it's unique.

A slight, eventually monotonous fable that is frequently very very funny. Its use of the medium may be rudimentary, and its general conceit - an old woman is a real pain to her family - hardly complex, but there is a real pleasure in seeing sheer, unwarranted nastiness in action. Tatie Danielle is the kind of wearingly negative OAP we all hope we'll grow up into.

The movie starts with Danielle being generally unpleasant to her equally elderly servant-companion, Odile, in a monstrous parody of the Barbie/Mabel relationship in THE JEWEL IN THE CROWN. They share a large house outside Paris - Odile doing all the chores to a chorus of ingratitude and hostility; Danielle accusing her of senility and thieving . A short visit from her nephew, Jean-Pierre's family, inspires in Danielle the desire to live with them in Paris, and fortuitously (or is it?) Odile meets with a fatal accident cleaning the chandelier on a rickety chair. Danielle sells her house, shares the money with her nephew and spinster niece, Jeanne, to ensure moving in with the former.

Here, she is an absolute horror, refusing to eat at dinner, insulting Jean-Pierre's wife, Catherine's cooking and looks, kicking the dog, deliberately losing the youngest child in the park. The family refuse to believe she is mean because of her financial generosity, but the barrage begins to wear. Just before they intend to holiday in Greece, with Danielle staying with Jeanne, the latter is dumped by her boyfriend when she announces her pregnancy; Jean-Pierre suggests she accompany them: a helper must be found for Danielle.

Outraged, Danielle ups her offensive. She begins to overeat to get sick, and throws water on the bed, feigning wetting. In a brilliantly farcical sequence, she disrupts her nephew's dinner with friends by turning on the TV at a blaring volume, begging for food and visibly defecating in her nightie. Eventually the family find a minder, Sandrine, and set off. But Sandrine refuses to take any nonsense, and after a power struggle and touching thawing , leaves Danielle to spend a last night with her American boyfriend. Left alone, Danielle deteriorates, lets the apartment go to pot, and sets it on fire. A national outrage ensues over this perceived abandonment and Danielle becomes a celebrity, while the family are taken to court for negligence. Her fraud is revealed, though, and she ends up in an old folks' home...

TATIE is very reminiscent of Renoir's masterpiece BOUDU SAUVE DES EAUX, in which a tramp rescued by a kindly bourgeois wreaks havoc on his benefactor. Danielle, for all her unpleasantness, is a subversive presence, disrupting complacent bourgeois domesticity, telling hard truths. The family aren't vile money-grabbers, and despite some grotesqueness, are an essentially decent lot. They are the new France, boasting shiny apartments with all mod cons, and bright colour schemes, tolerant liberal attitudes (one son is a gay dancer), dinner parties, trips to Greece. Their only crimes are pretentiousness, homogeneity (note the similarity of their names), and self satisfaction, but they are hardly Bunuellian monsters.

Danielle is the France they'd like to forget, reminder of a colonialist and collaborationist past. Her childlessness is linked to sterility and the pinched nature of her character; her husband died 50 years ago, just before the Fall of France? He is a seeming image of French glory and military prowess undermined by his comic looks. She is a past that refuses to be suppressed and her power reveals the fragility and superficiality of bright, modern, consumerist France, how easily it can descend into chaos and fragmentation. Catherine becomes a bag of nerves, Jean-Pierre convenes Mafia-like meetings to discuss family crises.

TATIE is very brave in never selling out on the character of Danielle, who, in Hollywood, would surely be reduced to mush. There is as much ridicule as pathos in her conversation with her dead husband, and her growing affection for the only character who won't cow before her is disabled by a lack of human sympathy and insight. We love Danielle precisely because she is so unbearable, a vile Id that cannot be swept away.

Tsilla Chelton's sublime performance, a mixture of evil, moroseness, regret and childish mischief, keeps the film watchable, although by the end one has probably had enough. The coda is delightful, though, rejecting cosy ideas of moral regeneracy. The style is more subtle than it first appears, with its plays of light and space serving to suffocate Danielle in her environment, and there are some pleasant, if conventionally mild, surreal long shots, involving an adorable, soon-to-be-betrayed dog.

Etienne Chatiliez can keep a cool head! After the commercial and critical success of "Life is a long quiet river" (1988), there must have been an immense pressure on him to make a second movie. Two years later, he resurfaced with a new feature-length film, "Tatie Danielle". At first sight, this film seems to be less original than its predecessor. It is nevertheless a fact that it is a funnier movie to watch and it shows once again Chatiliez's brilliant talent.

Etienne Chatiliez's strength comes from his skill at making laugh of a serious topic, always with a caustic and devastating humor. Furthermore, he always finds place to insert in it a little touch of social satire. These film-maker's particular gifts were already present in "life is a long quiet river". We find them again with pleasure in "Tatie Danielle" where the director is surpassing himself and is going further in daring. Roughly, he is having a tremendous time with the adventures of this old malicious lady who is going to make life impossible for her nephews. The movie is bursting with comical sequences and no-one makes sparks fly of powerful dialogs as well as Chatiliez does. Through the Billard family's trouble then Sandrine with "Tatie Danielle", a progressive tension grows which reaches its climax in the sequence when Tatie Danielle, hopeless after Sandrine's departure ransacks her nephews' flat and accuses them!

Like in "Life is a long quiet river", the contrast constitutes one of the author's main weapons. On one hand, Tatie Danielle, an old lady full of nastiness and on another hand, her nephews with an excessive kindness. It is useful to point out that the director makes a somewhat mocking description of his characters. For example, Tatie Danielle may be unbearable, she is also a very lonely old woman. She can only confide in her late husband. The latter is depicted in a photography and he is squinting! Through this characteristic, Chatiliez cocks a snook at her main character. On another hand, in the Billard family, the father and the children have got pretty much the same first name: Jean. A discreet way to laugh at this average French family

But Etienne Chatiliez has more than one string to his bow. Indeed, he also understood that sometimes it is better to use the power of suggestion to make particular moments successful. Thus, we learn that Tatie Danielle stirs up ill-feeling in the old people's home through the nurses and the head doctor's words.

And especially, especially, Chatiliez has got a sharp sense of observation. His movie abounds of little black ideas or details that irresistibly kick the bull's eye.

"Tatie Danielle" also proves one thing. Sometimes it is no-use hiring famous actors to secure the success of a movie. At the time of its release in 1990, nearly all the actors were virtually unknown. But Tsilla Chelton gives a flawless performance and it is a delight to see Isabelle Nanty subduing the tough octogenarian.

If we make an exception of some little weaknesses (Florence Quentin, the scriptwriter has forgotten to delete a few clichés linked to old people and there are some predictable sudden new developments), you come out elated of the projection of Etienne Chatiliez's intelligent and malicious second movie. He passes us on the pleasure he took in shooting this story. A really funny movie and there's no reason to deny oneself of it.