Un air de famille

Mr. Klapisch continues to mark himself as one of the finest directors of his generation; with simple means, he tells tales which stick close to the bone of contemporary life, and he knows his territory quite well. This French family could not ring more true, and it is in the subtleties - such as the scenes of the "successful" son who is nonetheless hounded by the biting criticisms of his family - that Klapitch really distances himself from his contemporaries. There is little of the long-windedness or preciousness of some of the current flock of young directors, and his films never glibly mock their characters, which can leave more chilling - or uplifting - conclusions towards the end of their tales. It seems that every time a movie is adapted from a play people seem to harp on its "theatricality" - almost as a matter of course - yet this film works quite well on the screen, and the visual qualities of the storytelling are numerous, while the cinematography is superb throughout. I must also add that, despite the fact that we are discouraged from reacting to existing comments on this page, the comments of the reviewer from Dublin, Ireland are among the most ludicrous I have seen on these pages; Un Air de Famille - it is a superb title in French - is one of the finest films to come out of France in the last decade.

I was enthralled by this filmed play of an evening in the life of a family driven to a peak of "dysfunction," but through it all held together by the glue of love, however imperfect (as it always is).

The movie is a comedy in the sense that it makes you laugh at, with, and sometimes in spite of the kaleidoscopic display of personal and interpersonal flaws, weaknesses, and vulnerabilities that it illuminates through its crack cast of closely observed and defined characters. Few if any of them fails to reveal a different side to their personality with each turn of the kaleidoscope. These are complex people - just like the real kind. And the fact that the script, the camera, and the direction simultaneously lay bare their suffering/insufferable humanity (and their unique virtues) while evoking sympathy, fondness, and identification with each one of them is what, to my mind, raises Un Air de Famille from the level of good artistry to that of redeeming social value: art with a heart.

Syd Baumel

It is always interesting to read other peoples impressions and critics of movies and when I read the Darragh O'Donoghue's above comments about the film 'Un air de famille' - he (she?) already doesn't understand the title of the film which is full of double or triple meanings - I can't help but write down my very own impressions of the film.

It is clearly visible that the script was originally written for stage by using one single location for the film. The director of the film cleverly used the simple set(it's a low budget movie after all) to invoke a lively family meeting by setting up lots of different shots. His solution was to make the camera mostly invisible by not clinging to exaggerated camera moves or positions. By doing so he gives us the possibility to concentrate on the actors and their dialog. And what a pleasure that is to do. Step by step we get more and more involved and because it's somehow clear from the beginning that this piece is not about major surprises but about the subtle plays and conflicts happening between people who know each other for a long time, one is charmingly pulled into the story.

p.s. the subtitles are clearly readable. The 'banal' dialog between the family members has exactly the right dose of innuendoes and truthfulness.

A pleasure to watch.

This is a vehicle from and for (they both appear in it) a very gifted team of writer/actors or vice versa and in some ways a dress rehearsal for their standout Les Gout des autres which would, a couple of years later, cop a bagful of Cesars and deservedly so. Unlike other commenters I don't find the obvious stage origins a problem any more than I do with say, Francis Veber's 'Diner du Cons', which works equally well in both media. I haven't, alas, seen the stage version of this though I would dearly love to. The writing is spot on, the characters are flesh and blood and one hundred per cent believable. It's one of those movies where we can say that, yes, we all know people like this. It would be churlish to single out anyone from this fine ensemble cast, including the two authors, suffice it to say that everyone turns in a great performance. One to see again and again.

If like me you like French films, you will like this one. There is no

plot to speak of and no time wasted in car-chases and violent action

sequences. There is just fascinating dialogue and the interaction of

intereresting characters, plus the expression of real emotion and

nuances of feeling. There is an intimacy with the characters that is

typically French and which the Americans rarely achieve. At the end of

the film you feel you know and understand these people and are wiser for

having known them.

I loved the performance of Catherine Frot in the film, She was delicious

and made the character of Yolande incredibly appealing and lovable.

What a crying shame she should have shackled herself to such a

self-centred, unappreciative husband. He was the luckiest man alive and

yet too obtuse to realize it. Hows appallingly sad.

The high-light of the film for me was the little dance Yolande had with

the quiet, philosophic bar-man Denis, played by Jean-Pierre Darroussin,

who, revealing his kind heart, offered to dance with her when her

insensitive husband refused - despite the fact that it was supposed to

be her birthday celebration. Denis's skillful dancing surprised them all, and disclosed a whole new

aspect of his personality. There is a touching moment at the bar when

Yolande, suspecting Betty's romantic interest and trying to encourage

it, says to her with a lovely winsome expression; `He's a good dancer.' And at the end of the film when Betty and Denis are seen to declare

their love for each other, she says delightedly, to the chagrin of her

snobbish and spiteful mother-in-law; `You know what this means? It means

he's going to be