Paseando con Molière

Philippe Le Guay has cut his film to fit the talent of Fabrice Luchini in his 2014 Bicycling with Moliere. Luchini is hardly a household name in the US, but he is a welcome, much appreciated and feted actor in Europe from the Atlantic to the Urals. His distinctive voice is not unknown in Africa, Latin America and Asia. To give the American English speakers an idea of his talent, Luchini measures, as a classical and cinema actor, up to John Gielgud. Serge Tanneur (Luchini), after a long career in theatre, withdraws to splendid solitude in an island off the French coast. Gauthier Valence (Lambert Wilson) comes to the island to woo his friend Serge back to the stage in Moliére's Le Misanthrope, a play that Tanneur has often played during his 30-year career.

Valence suggests that Tanneur play as against type the role of Philint, and he takes the plum role of Alceste, the Misanthrope.

Serge at first rebuffs his friends, but Valance, a star in a successful soap opera, offers a tempting off of alternating roles, a novel idea that would guarantee the play's box-office success.

And so the stage is set as the two friends personify the modern Alceste (Luchini) and Philint (Wilson) in their personal relationship.

And so, Serge puts Valance through his paces whilst bicycling through the high- and byways of the island.

Like Philint, Valence cares for Alceste, his acerbic friend Tanneur. As the film rolls on, it is obvious to everyone but Valence, he is not up to the central role of Le Misanthrope. Still Serge walks him through his paces, correcting his pronunciation to fit the Alexandrine metre the play is written, as well as its complexities of the play. And yet, Valence muddles the script.

In a closing scene, we see Luchini wearing the 16-century dress of Alceste peddling towards a cocktail party to confront Philinth whom he feels has betrayed him.

And he parts company with Valance by refusing to play no role but that of Alceste., thereby underscoring he is a modern Alceste who not only in a vein of irony and bitter-comic relief pointing out flaws in the human character, but also shuts out any reconciliation, not a resolution to the weaknesses of man.

As the camera zooms in on Luchini sitting alone of a beach, he recites with a touch of pathos,

"My hate is general, I detest all men; Some because they are wicked and do evil, Others because they tolerate the wicked, Refusing them the active vigorous scorn Which vice should stimulate in virtuous minds."

French director Philippe Le Guay's Alceste à Bicyclette / Bicycling with Molière is based on actor Fabrice Luchini's original idea. The film is all about actors, their homes, moods, relationships and worlds. The scenario is written in such a manner that this film is also able to discuss the concepts of "good actor" versus "bad actor". They make viewers discover that all actors are absolutely conscious of their image. There is one major thing which all viewers can easily identify in the film. It is related to some actors and their essential need of personal space especially due to their being popular on television. Apart from actors and acting, Bicycling with Molière throws light on how the presence of a woman impacts male bonding. In many ways, it can be construed as this film's minor yet useful subplot. It gains considerable weight due to the benign presence of Italian actress Maya Sensa. Any discussion about this film would not make much sense unless the importance of actor Fabrice Luchini in French cinema is discussed. He has become an important personality of French cultural life. Apart from films, he is seen on TV talk shows reading excerpts from literary as well as philosophical works. He is the best reason to watch this film as good/poor actor Fabrice Luchini takes his revenge on bad/rich actor Lambert Wilson. Before concluding it can be said that actors riding bicycles is a good sign of people in show business coming out of their comfort zones. This statement is as close in reality as stating that in the field of acting there are no friends as nobody would like to miss the opportunity of playing an important role.

Accepting the world and its ways as they are - however crooked they may be - and be sociable, at the risk of falseness and compromise or sticking to one's moral principles and remaining upright at the risk of keeping a stiff upper lip and becoming estranged from others, such was the problematics in Molière's classic comedy of manners 'The Misanthrope or the Cantankerous Lover', written in 1666.

Verifying the relevance and the permanence of this questioning three centuries and a half later, such is Philippe Le Guay's objective in 'Alceste à bicyclette' (Bicycling with Molière), a contemporary cinematic comedy of manners, which might well become a classic of the genre in the years to come.

Our present-time Alceste goes by the name of Serge Tanneur and is personified in a tailor-made role by Fabrice Luchini. Serge is the very type of the demanding actor who places his art above everything else. He is now retired in his home on the Île de Ré because he refuses to go on playing in inferior commercial products. Face to him meet the Philinte of today, Gauthier Valence, his former friend, a fellow-actor who also thinks high of his art, but who has squandered his talent in basely commercial stuff, especially in a TV soap entitled "Dr. Morange", which has made him a star adored by audiences, especially female.

What brings together the two thespians, one stern and pure, the other wavering and impure, is the latter's wish to clean up his tarnished reputation by grappling with loftier material. To this end he is to direct - what else? - 'The Misanthrope' and to play - who else? - the role of Philinte in a prestigious production of Molière's masterpiece. And who has he considered for the part of Alceste ? Well done, good guess: Serge Tanneur!

The question is: will the misanthropist accept to play 'The Misanthrope' alongside a traitor to his art like Gauthier ? Naturally, nothing is less certain...

Revolving around the improbable reunion of two former friends turned enemies, 'Alceste à bicyclette' could be content to be an amusing ego vs. ego comedy, served by two major actors. Which it is actually: how could it be otherwise with Fabrice Luchini confronting Lambert Wilson, the former haughty, aggressive, never getting off his high horse and the latter charming, cajoling but maybe even more devious than his partner? But a closer look reveals a much more complex work dealing intelligently with various themes among which: - how to play a classic and keep current audiences interested, - purity and intolerance; opportunism and sociability, - the moral's of today's world - friendship and betrayal, - true love and philandering. Be reassured though. Philippe Le Guay is not one of those arty artists worked up about things and always giving lessons. On the contrary, the author does his utmost to help the medicine go down by resorting to the best excipient ever, comedy. For sure, when it comes to humor, Le Guay masters all the ropes to perfection. In this particular movie, he runs the whole gamut of laughter, from the most basic sight gags (Lambert Wilson trapped in a jacuzzi run wild; the same repeatedly falling off his bike) to the most sophisticated ones (Serge's way to avenge himself). And that is not all. Not content to be intelligent and funny, "Alceste à bicyclette" has genuine moments of emotion (I refer, in particular to two really moving sequences, that of Serge's return to life through love for an Italian woman and the other featuring a teenager acting in porn movies unexpectedly transcended by her sensitive reading of Molière's text). French audiences were in no way deterred by a movie dealing essentially with the rehearsals of a play written in the language of the 17th century. Over a million people came to see it. This just shows what wonders Philippe Le Guay and his faithful cohort Fabrice Luchini can work. They already done it with 'L'année Juliette', 'Le coût de la vie' and 'Les femmes du 6ème étage'. Let us hope they will do it again soon.

A popular TV actor with presumed artistic aspirations, the character of Gauthier Valence, travels to an island off the west coast of France to solicit a former acting companion, the reclusive, ill-tempered character of Serge Tanneur, to join him in a stage production of Moliere's The Misanthrope. Tanneur is retired, and says he hates acting and actors, but eventually agrees to at least rehearse with Valence for four days. Based on a daily coin flip, they will alternate the roles of Alceste (the "Misanthrope" who detests the hypocrisies of social life and rebukes men's dishonesty toward each other) and Philinte (who argues for a necessary role in social life of courtesies and half-truths). One might simplify things by labeling Alceste as the idealist and Philinte as the realist. At the end of the brief rehearsals Tanneur will decide whether he will participate in the production, and if he does the two actors have agreed (are they companions? rivals?) to rotate the parts on a daily basis.

To me, the fascinating part of this film was how the two characters submerged / transformed their interaction and emerging rivalry into the two characters of Moliere's play and the echoed interaction of the play's characters onto their own relationship. As they rehearsed, it seemed like Moliere's lines were reflecting aspects of their own interrelationship, which to me was clever screen writing. We also see during these stimulating two-person readings, a subtle evolution of their acting relationship from one of apparent agreement and collaboration to one of ego tests and indirect humiliations. Does the play come off? I believe you can enjoy this film without being familiar with The Misanthrope. I hadn't seen it performed in 30 years, and yet I could appreciate the juxtaposition of Moliere's play and the interaction of these two actors.

This is an intelligent film, a rather sour, grown-up comedy that captures something of the misanthropic theme of the Molière play that has a large role in it. But you really don't need to be familiar with "The Misanthrope" (1666) to enjoy this film. It does help, however, if you love good acting, are a bit of a francophile, and are prone to occasional bouts of contempt for your fellow human beings.

Once you begin to note the key differences in the temperaments of these two old friends, the scope of the film expands. It's about the continued relevance of classic drama thanks to unchanging human nature. It's about the art of acting itself, the struggle to nail one's character through a peculiar mixture of repetition and imagination. It's about the problem of casting roles, about why actors, however experienced and ambitious they might be, just cannot play certain parts credibly. It's about how popular entertainers are rewarded handsomely for allowing their audience to avoid confronting the flaws in human nature. And it's about the line between success and failure in life and in love, and how, Hollywood notwithstanding, having real talent and genuine feeling is no guarantee of a happy outcome.

The setting on the windswept Atlantic island (Ile de Ré) is used to great effect as a way of concentrating the concealed hostility between the two main characters. And there is a lovely homage to a scene in François Truffaut's most famous film that should please film buffs. This is a literate film and one which Truffaut himself would surely have admired.