Le prénom

Mix of Un Air de Famille by Klapisch and Carnage by Polanski, Le Prénom is clearly divided in two parts: the first is pure comedy oriented, whereas the second is more drama focused.

The problem is that those two parts aren't homogeneous: the beginning is very good, dynamic, the dialogues fly, the humour is really present and the viewer is quickly sucked in. Unfortunately, the more the film progresses, the more the comical aspect is left aside, and the more the movie loses interest. The script goes thought bland and uninteresting passages, and we are served a dramatic aspect that isn't the most exciting one, which is disappointing in comparison to the thundering start.

A fifteen minute cut, mostly from the second part, could have also improved the overall rhythm of the movie.

Special mention to the cast who was very good and showed a great chemistry.

As you sit in front of Le Prénom, you can't help but think how many similarities it shares with Carnage (Polanski, 2011): same middle class context, almost the same setting, but with that French flavour that makes everything much tastier. Vincent is about to become father for the first time, and, during a dinner at his sister's house, he's asked about the name his wife Anna and he want to give their son. This simple, lame question sets off an evening where secrets are revealed, feelings are declared and hypocrisy is unmasked.

I think the movie, built on a very strong and witty screenplay, wouldn't have worked the same if the actors hadn't been so good, with so much remarkable chemistry between them. The cast is directed as if it were a company in a theatre: everyone has to be empathic with the others, in order to make the script work.

Better to watch it in original language, with subtitles: it's worth the risk to miss some of the dialogue.

I highly enjoyed Le Prénom. The dialogs are so dinamic, with such a fluidity and the perfomances are sublime.

Usually not a big fan of french movies, but this one was surprisingly good. It didn't bore for a single second and yes, there was sharp dialog (even in dubbed version) but it was funny and not to the point where one had to cover one's ears. And another plus, unlike Carnage, it did not feature a puking which was a major bonus points earner. I thoroughly enjoyed every minute of it and think the actors did a great job. They felt real enough that this could have actually happened at a dinner party back at my own home. It also had a nice twist that I didn't see coming and don 't want to spoil for anyone. Just this much, things are not always what they seem to be. Yep, that about covers it.

A well worthy ticket for an enjoyable popcorn movie night. (8/10)

'Le prenom' translated in English in the Shakespearean 'What's in a Name' is even more than an adaptation, it is almost filmed theater. Excepting the introduction which is funny but has little to do with the film and the final few minutes which could have been much better all the play ... sorry ... the film takes place in a Parisian apartment where five characters mid-class, mid-age meet for dinner and live the crisis of their lives triggered by a practical joke one of them makes related to the name of his baby-to-come. As in Polanski's 'Carnage' which brought to screen a play by Yasmina Reza, the border between theater and film is never really crossed. Actually this film/play is so close to Reza's style that I would have been fooled easily if they told me it's written by her.

Alexandre de la Patelliere and Mathieu Delaporte brought to screen Delaporte's play and it looks like they do not have any other ambition than bringing to broader audiences the same story of good friends discovering unknown truths and hidden aspects of each other's personalities. Every ten minutes or so we do have a new revelation, each one about another of the characters involved which will put at try family relations and friendships forged decades back, in childhood. There are no social comments of actuality and no political sub-tones if we exclude some references to the left vs. conservative stereotypes, and probably the most significant (and funniest) reference is made to political correctness, related to the selection of the name of the baby boy, but it is consumed unfortunately in the first third of the movie. However, this may play eventually in the favor of the text, keeping it timeless and helping it stay actual even if read and played many years or decades from now.

At the end of the day viewing 'Le prenom' is an enjoyable experience and this is due to the well written dialog (it's a filmed play, but a good one) and to the excellent acting. I especially liked the pair of brother and sister (Patrick Bruel and Valerie Benguigi) who succeed both to bring real-life nuances to their characters, supplementary to the complexity and wit which is derived from the text. Do not avoid 'Le prenom' if it comes soon on a screen or a stage close to your place.