Les apprentis

The dialogue in this film is hilarious, the acting is superb, and the plot is intelligently constructed. There are no narrative gimmicks - these two mates are normal lads, not drug-addled, not abused by their parents, not victims of horrible fate, prejudice or a miscarriage of justice. This simplicity, coupled with its power to move solely on the development of character, is why the film is so effective. They are losers, of course, but then again who isn't nowadays? Antoine dreams of a nice house complete with nice family and literary career, Fred dreams about combustion engines. They are different, and although it is never directly said by either character, it is clear that their friendship is real and strong. Hollywood would have them opening their hearts either to each other or to some teacher or father figure, but Salvadori is more subtle than that. Their problems are manifest, but never shoved down our throats. What makes this film even more memorable, however, is its ability to make you laugh. Not only is the dialogue clever and just like the stuff you and your mates come out with, but there are also fantastic visual gags, some great set-pieces, and humour emanating from Antoine's withering state of mind (the best being his miserable crossword puzzle clues). I saw this film by accident and it is probably my favourite film, a surprise that will stay with me forever. And it doesn't rely on a pumping, modern soundtrack to keep it alive.

Antoine (François Cluzet), a failed writer separated from his girlfriend, Sylvie (Judith Henry) and has to share a flat occupied by a first-class lazy person, Fred (Guillaume Depardieu) who survives thanks to two-bit tricks. From then onwards, a chain of casual jobs and big woes awaits for them which will make Antoine plunge into depression. Fortunately, the friendship from Antoine is here to support him.

And it also keeps the viewer happy. Pierre Salvadori was on a roll after "Cible Emouvante" (1993). To write and film his second effort, he must have drawn into British social cinema, notably from its tendency to keep an uplifting look in gloomy social conditions. From the very beginning, Pierre Salvadori prefers to follow the road of the comedy to focus on these two unconventional people, unable to adapt themselves properly to the society and to cope with social crisis. An accumulation of preposterous situations, well chosen cues constantly maintain laughter and the end is here to give a welcome light of hope. Besides, when the two men play football with the children, it might be a symbolic sequence to reveal what they really are.

When you have more than estimable thespians like Guillaume Depardieu and François Cluzet in the affair and if they're sufficiently involved in the project and well directed, you can expect to have a really good time with them. Such is the case here, even if sometimes, the interest can wane because of a big proportion of various scenes. What remains is thoroughly gratifying to give this highly charged comedy a chance.

How to forget this beginning, with Antoine (François Cluzet), a "failed writer" (like probably many in the audience) writing endlessly to his former girlfriend, each time lying more, giving a version of his success more distant to his low reality.

The first phrase about Fred: "he has astonishing capacity to do nothing" is like a mantra, he's the best at that :)! The heist to Antoine's former job (and is aftermath), like Fred's botched attempts at photography to get to Claire Laroche's Agnes. Who's nothing special, but in the context of this professional losers, becomes like a diva, a porn star and an intellectual. The way he finally ends up making himself "useful" is weird to say the least :). Agnes's boyfriend acts and looks sick, a sexual pervert who could resort to anything. And Fred just doesn't care... Nonchalant as ever!

Scenes like the Karate instructor's punishment to Antoine would have been botched with most characters, not with Cluzet, who seems to be born to the role. He enters the tatami already cowering, knowing his defeat. Then he's a bit cheeky, like: "What are these suckers doing?". Only later, when he realizes that he's next, and he's going to be trashed... his look is just hilarious! Nowhere better applied this axiom that "the attitude with which you face problems precludes, or causes, the way you'll handle them". Or their attempt to "be nice" to the flat owner, Fred being "a student" (said with the same panache than most real life loafers :)), Antoine even pretends to be ending medicine (and has to suffer the consequences!).

Heartly recommended! Cluzet played Luc (the killer's best "friend") at "L' Adversaire" (2002), and before L'Enfer, making life miserable to beau Emmanuelle Béart which demonstrates what a versatile actor he is. Pierre Salvadori had just directed Cible émouvante, a similar story. When I saw this film I just couldn't stop making connections with Bertolucci's "The dreamers". But whereas Bernardo's dream conveyed no empathy for any of the characters, in here we like them both (and they're not exactly likable or have "redeeming qualities", like Tom Brooks (BBC's "Talking Movies"'s presenter) uses to say for criticizing bad movies.

IMDb's reviewer dbdumonteil is right at: "its tendency to keep an uplifting look in gloomy social conditions" and "focus on these two unconventional people, unable to adapt themselves properly to the society and to cope (...)".

The ending is FINE in the sense that there are no Hollywood changes, uplifting morales or corny music. Just life, in its endless complexity, like on Martha Stout's book "The myth of sanity".

Overally, fun and enlightening story about characters who just couldn't care less for society, but end up with us caring for them.

"Antoine" (François Cluzet) and his younger pal "Fred" (Guillaume Depardieu - anyone else think he's the double of Julian Sands?) live together in a glorified squat struggling to put a lettuce, or a tomato, on the table. The former fancies himself as a bit of a playwright but is amidst a fairly long barren spell; the latter - well he's a bit of a charming wastrel who is content to lie in bed all day as they both dream of their girlfriends, real or imaginary. Finally, they run out of what cash they did have and with eviction looming large they decide to rob the offices where "Antoine" works. That just proves to be a typically cack-handed affair for the pair, but also one that sees them rumbled by his bosses and facing a rather unique form of retribution - it's a martial arts magazine! Needless to say, this causes a bit of difficulty between these two men as depression soon hits "Antoine" in quite a potent fashion. Luckily, the boys have "Lorette" (Marie Trintignant) on hand to help steer them through this emotional maelstrom just as "Fred" succeeds in getting himself involved in a ménage-a-trois! Sure, it's all a little contrived and the scenarios do seem to go from frying pan to fire with predictable regularity, but there's a convincing and enjoyable dynamic between the two men here that the witty, quite near the bone, script does much to augment. In it's way it is quite an affecting love story depicting an inter-reliance based on a genuine fondness between two people whom you might reasonably think would do better apart. It hits the ground running and provides us with quite an entertaining observation of their lives that's well worth an hour and an half.

Les Apprentis is a moving saga of two impoverished friends.Antoine and Fred are unfortunate in all stages of their existence.Their financial lives are completely ruined.They are not at all lucky with their emotional existence as their girl friends have left them.What is interesting for the discerning viewer to watch is their peculiar camaraderie that allows them to go ahead in their lives despite numerous ups and downs.Pierre Salvadori has effectively created a tender tale of emotional calamities.He has elicited excellent acting performances from his entire cast.Guillaume Depardieu is splendid as gawky photographer Fred.Les Appentis takes a bizarre twist towards the end when neurotic Antoine tries to hide his emotions from Fred.It is impossible to find a parallel to this film in an array of cynical tradition of French Cinema.It easily brings to mind Claude Lelouch's Robert et Robert.The impressive soundtrack is capable of enlivening gloomy spirits.The strength of the film lies in the fact that it gives viewers ample time to make their own judgments