Sitcom

I just saw this French movie on my local ethnic station & loved it! Although this movie isn't for the usual consumer of comedy, it spirals around many weird & taboo issues such as: Incest, Homosexuality, Depravity & Sadomasochism. Around all this is "the mother" who is naively caught up in her everyday routines to find the secrets her friends & family hold. I recommend this movie for 2 reasons: It's French & it's different.

An original and inventive black comedy about a bourgeois family thrown into utter chaos, mostly sexual, after the father brings home a lab rat as a pet. Very twisted and bizarre, with many unexpected plot twists, this movie holds the attention to the very end. Ozon gives nods to Bunuel and John Waters without directly copying either. 'Sitcom' will appeal to fans of either of those directors, or to anyone who likes offbeat movies. Highly recommended!

"Sitcom," above all, requires a large grain of salt: it is visually shocking and provocative, and American audiences in particular often dismiss it as a "vulgar" film on these grounds. The plot, however, contains an allegorical richness that is rarely attained in most modern films. It is a theater of the absurd, and must be understood as such in order to comprehend the complexity of meanings and social commentaries it has to offer.

For starters, it is a criticism on the most basic level of the social alienated embodied by bourgeois social standards in France. One of the most accessible aspects of this commentary is the unwillingness of the characters to genuinely communicate to one another. While this makes several scenes totally hilarious, at the same time it micro-cosmically calls into question the validity of a "coherent" unit to address its internal problems; this is, obviously, an allegorical reference to France as a nation. The nation--like this bizarrely self-contained familial unit--is unable to progress and modernize in accordance with modern needs because of a lack of communication. The abstract issues of race, homosexuality, insanity, and even modern psychiatry are called into question. The modern cannot be a museumization of the past, despite whatever aesthetic benefits such staticness might offer.

It would be a good idea before viewing this film to read Freud's "Totem and Taboo." Despite the fact that no scholarly connections between the film and this work in particular have been made, it provides at least some provocative insight into the plot. I would also suggest against making a viewing of this film a family event; it would be most appropriate among those of an older age group, and is a particularly provocative piece of French film.

I love Francois Ozon's films. Together with this, I have seen all his feature-length work (Sitcom, Criminal Lovers, Drops Falling On Burning Rocks, Under the Sand, 8 Women, Swimming Pool). "Sitcom" is the film by him that I found the most bizarre and unsettling (even though I had some good laughs). The ending was a bit too much, but otherwise, I quite liked it. The atmosphere and the bizarre events sometimes reminded me of "Criminal Lovers", that he made immediately afterwards, but with more focus on black humor than in the latter.

The whole way through, the story of "Sitcom" reminded me of Pier Paolo Pasolini's "Theorem" (Teorema) - much more than of Bunuel's "The Discreet Charm of the Bourgeoisie", already mentioned here. In Pasolini's 1968 film, a strange visitor unsettles the life of an Italian bourgeois family: after he leaves, the daughter loses her mind, starts lying catatonicly on her bed and has to be transferred to a mental institution; the mother, in a desperate urge for promiscuity, picks up handsome young men on the streets for sex; the maid goes back to her village and becomes a levitating saint; the son discovers his talent for painting (and probably realizes that he is gay); the father at first seems not to be affected, but then he also succumbs to the influence.

Ozon's film seems to take up this motif and transfer it to a very-very black farce and a parody of American sitcoms (I love the set design with all those bright colors!). People here (especially the mother) always try to "talk things out" like in the sitcoms, but it doesn't really work, because the environment is/has become so different.

At the very end, though, everyone seems to have found themselves at last: from a dysfunctional family, they have apparently become a happy family again - though not exactly in the traditional, conservative way. But the white rat is still lurking everywhere...

Before his first real feature-length film, François Ozon produced an impressive chain of short films during his cinema student years and beyond. In 1997, the medium-length film "Regarde La Mer" made many film lovers put hopes in this voracious filmmaker. When he was a cinema student, one of his professors kept on repeating him: "Go on! Make movies. Believe in what you're making!". This leitmotiv remained stuck on his mind since Ozon makes at least one movie a year. Passion has no limits. But now back in 1998 about "Sitcom", a cannonball in the calm landscape of French cinema which was written in a fortnight and shot in one month, this quirky offering was disowned by a good part of the French press specialized in cinema and it's easy to see why. It was too much for them to give thumbs up to this special piece of work which already showcases the Ozon style.

This first offering already lets see his influences, his cinematographic, cinema-going tastes. It spans Claude Chabrol for the bourgeois milieu, Luis Bunuel for the will to shatter this milieu through unexpected means and some dreamlike sequences. Furthermore, the beginning of the film with the arrival of the Spanish maid in the desirable mansion echoes to the scene with the arrival of the bishop hired as a gardener to the Sénéchals in "Le Charme Discret De La Bourgeoisie" (1972) or even the arrival of Jeanne Moreau to the Monteils in "Le Journal D'Une Femme De Chambre" (1964) and Ozon clouds the issues with some indications such as "a few months sooner" or "a few months later" like in "Un Chien Andalou" (1928) or "l'Age D'or" (1930) and give the whole an unreal side. Then, like the "king of bad taste and extravagance" (you probably guessed his name) author of "Serial Mom" (1994), Ozon has a liking for trash humor and shocking.

"Sitcom" also presents the seeds of what will be developed later in Ozon's subsequent films, notably the sublime "8 Femmes" (2002) or "Swimming Pool" (2003): a will to enclose his characters in an isolated space to shatter them and to lay bare what's going on in their tormented minds. Also a freewheeling look on sexuality and the inclusion of the grotesque and the admirable.

Here, Ozon takes the corny clichés of the sitcom and explodes them through defaced scenery, ugly cinematography and characters who are devoid of interest and are only puppets. The father who only expresses himself through proverbs and can't see for a long time the disorder which reigns in the house. The mother a little uptight who struggled hard to keep order and harmony. The son, serious at the outset who discovers his homosexuality and gradually becomes outgoing. The daughter, an artist who seems marooned in her education and her life. Possible exit: suicide. An universe which goes awry because of a white rat which sets the depths of the unconscious free.

If one accepts without ulterior reasons, the preposterous staple idea I have just mentioned, "Sitcom" is much fun to watch. The topic could also have given birth to a satire of the bourgeois milieu but it rather takes a back seat. Instead, Ozon prefers to unleash his perverse frenzy of a sadistic child. He apes the nasty piece of work through a series of sequences, perhaps a little loosely linked up and dovetailed but they are virtually all funny and peppered with perennial, nagging black humor and powerful lines. Ozon will keep to the tail end these features and this assumed schoolboy tone. Different sexual moments may give the film a catalog side but they are virtually all filmed with a certain reserve.

The actors all match with their respective roles. One will notice the presence of Marina De Van who before had already worked with Ozon (see "Regarde La Mer") and will after. By the way, her gruesome film "Dans Ma Peau" (2002) isn't suitable for the general public. Anyway, Evelyne Dandry's acting has strong resonances with Hélène Vincent's in Etienne Chatiliez' debut and best film "la Vie Est Un long Fleuve Tranquille" (1988) and François Marthouret's solemn cues could be worth alone the price of admission.

"Sitcom" is a dirty, unreal treat brimming with naughtiness. Ozon's trademark is already palpable in his debut film which, however isn't for all tastes. Make up your mind if you find it repulsive or hilarious.