Les visiteurs: La révolution

Look, what did you expect? Les Visiteurs (1993) is one of the most successful, funniest French films of the 20th century, it couldn't be topped with a sequel, especially if it's part 3, 25 years later. At least it:

a) Stayed loyal to the timeline, giving us some closure on what happened after the end credits of the second movie; b) Brought something new to the mix; c) Some jokes were actually pretty funny;

It probably could have been done better if done with younger, more energetic actors, but then all the "familiar faces" gags go to crap, unless the movie's gonna spend a good portion of it establishing new actors in the roles of familiar characters.

It ended on another great chapter in French history, an interesting crossover, and it's fun to speculate what would happen to Godefroy and Jacquouille next.

All in all, I'm glad they made something with that cliffhanger they left us with back in 1998. They didn't mess it up too hard, it's part 3 for god's sake, for a part 3 it's ok.

Now in the 21st century, many people are criticizing movies for racism and the like. I'm not a racist, but I think all jokes have a right to life, it's just a joke (and yes, it was really funny to me). I really liked the third film, as well as the previous two. I don't understand why the film has such a low rating. So I just have to put 10/10. The situation needs to be corrected. Glory to French cinema!

In 1998, "The Visitors" saga concluded on a rather frustrating cliffhanger. Godefroy the Brave (Jean Reno) and his faithful servant Jacquouille (Christian Clavier) were, once again, misdirected in the corridors of time and left prisoners during the French Revolution. The film ended on a note that seemed to say "we don't care for continuity as long as there's a gag" (as if our beloved medieval characters in a cage would be a pleasing sight).

Still, the film met with commercial success, but apart from the American remake (which I thought was better), it seemed like the director, Jean-Marie Poiré, the actors and certainly the spectators were done with "The Visitors". Until 2015 when the first teasers of two aging and uglier-looking Godefroy and Jacquouille made it clear that "The Visitors" would finally make a trilogy, how about that?

On the positive side, I thought it was inevitable since they had to come back to their time. Besides, there was no way it could be worse than the sequel and maybe the writers' team made of Poiré and Christian Clavier had time to prepare an entertaining and funny story that wouldn't rely on cheap jokes and special effects. On the other hand, I was afraid the film would be an attempt to give a 2010's flavor to the series by inserting so many 'trendy' stars (the casting of bankable Frank Dubosc and Ary Arbittan didn't reassure me). But I didn't have time to set up my anticipations as the first negative signals started to ring: no premiere, the Press couldn't watch the film before the release, talk about self-confidence.

And then came the (vengeful?) critics: a cinematic disappointment with an overuse of poo-poo jokes, an insistence on bad smell even more incongruous in the unhygienic context of the Revolution. More constructive critics denounced the disjointed aspect of the scenario, the overdose of artificial lighting to suggest night and the wooden acting of Reno who seemed more absent than usual. But the criticism that worried me the most was that: the film had no end. Whatever it meant, it really set my worries high and my expectations low, very low.

The start was promising though with the summaries of the previous films crawling à la "Star Wars", I didn't expect to smile so early. Then we're put in the Middle-Ages, paler and more pastel tones than in the first films, Godefroy and Jacquouille make a spectacular yet confusing entrance, since they're supposed to be in 1793. Indeed, it was all a dream by one of the soldiers. Later, the King orders them to find Godefroy, otherwise, his lands will be taken and he'll have no descendants. Why did they bother with that subplot since Godefroy had a mission already? As uninspired as it was, Godefroy was supposed to come back, marry Frénégonde, give her some sacred relic and close the corridors of time to prevent the plague. No continuity isn't such a big deal, but so early, it makes you expect the worst.

But I guess, I've been so thoroughly prepared for this worst that as long as they were not shown defecating on the screen or farting on others' faces, it was okay. At the end, it wasn't too bad. Actually, I've been even pleasantly surprised that the film contained more restrained part than the sequel, moments full of verbal interactions about the Revolution, classes, human rights and other 'hip' stuff, that and a great dinner scene with Robespierre (played by a chilling Nicolas Vaude). It's true the two protagonists were left behind for a while, but at least the film remained consistent with its subtitle.

And while there were a few nice nods to the original film: Marie-Anne Chazel in the cast, Godefroy being again mistaken for a distant cousin and so forth, it is true that the film insisted upon itself when it came to the smell and fecal jokes, even lengthy conversations were on the same register, like one between between the Brave and a pompous Italian aristocrat played by Arbittan, something about the honor to wipe the Royal ass. Ten seconds is the limit to maintain such a joke, but the film gratifies us with so many references to odors or feet, that it almost spilled over the script. It came to a point I was breathing heavily when Jacquouille had to serve a chocolate pie to Marat.

But on a more positive side, I liked the way this film connected with the first where 'Revolution' was a preeminent theme, one that even inspired Jacquouille to stay. It also showed his descendant, one of Robespierre's under-bosses, taking his former masters' land, thus starting his family's fortune. Even Dubosc, more restrained than usual, shone as Gonzague de Montmirail, referenced many times in the first. The others Montmirails were not foils for Clavier's antics, and happened to be so interesting that we didn't need Godefroy and Jacquouille on screen. Indeed, they provided great insights about the revolution from their own standpoint. They're the refugees and citizens, from the people, are eager to denounce them for money.

When you know the historical weight of 'denunciation' in France, the film doesn't quite honor the Revolution. And who knows maybe this revisionism appaled the oh-so republican press, who branded the film as reactionary. But it was gutsy to have such a taboo-breaking approach, it just get diluted in too many jokes and twists that the film inevitably failed to deliver its premise. Worse, it indeed didn't have time to end, and what could have been a terrific redeemer made it worse. Even as a joke, the ending could have worked, but the film suffers from the eternal syndrome of French comedy: rushed ending.

The ending (or lack of) wasn't without a meaning, and a strong one, but I wish they had time to rework the film, a few scenes cut, a few adds, it could have been something.

I just finished the 10th rewatch of this move. Its just better and better every times. I completly understand the so many historical jokes and comic scenes and just like it and still laugh many times. I know the most people dont get it because its a very special humor. I can say its the most seriously underrated but simply best piece of Les visiteurs series. I can advise to watch it multiple times and you may get it! :D

The first one is surely a candidate for best French film of all-time for its pure thick comedy, the history, the emotions, the soundtrack, iconic actors, and one of the most celebrated directors in the country.

The second wasn't as bad as they say. This however, even with as much effort as it is fair to concede, still comes across as too weak.

The problem first of all is they focused too much on story, not enough on funny. It IS a Visiteurs film after all, not a historical document. They had much to work with as comedians during that rusty old time of post-revolution France, and yet they settled for a group of aristocrats as the main new addition as a source for humor; albeit well written, well acted out by notably Karin Viard who does fantastic as the uptight super hypocritical noblette.

No need to spend an hour here: not funny enough, did not exploit the potential of either the classic old elements or the new environment; story is alright but certainly forgettable and only a framework for a mediocre comedy movie.

Dubosc adds his own little touch, is funny on a couple of line deliveries, but nothing more.

4/10.