Le placard

This amiable and amusing film is delightful as it plays around with political correctness, homophobia, machismo, and business management.

The dull-witted and just plain dull main character keeps his job by pretending to be gay -- at the suggestion of a neighbor who is an industrial psychologist that once lost his own job BECAUSE he is gay. With that premise, the film is off to a wonderful series of misunderstandings and revelations as our hero discovers a great deal about life, people around him, and most of all, himself. The fact that all of this takes place is a very prim, high-tech condom factory makes the comedy all the more lively.

I wasn't expecting the lift that the film gave me. It has a flimsy giddiness about it lacking in most comedies about being gay or straight or anything else. See it if you get a chance.

A great film; witty and original. From the writer/director of 'Le Dîner de cons/The Dinner Game.'

The main reason i'm posting this however is as a warning to anyone who is thinking about watching the English over-dub; you'll be watching a different film if you do.

Francois Pignon is a shy, unassuming accountant in a French rubber manufacturing firm. With redundancies on the way, he knows that, because he is not respected by his boss or colleagues, that he will be the first one out the door. After a discussion with his new neighbour, Pignon fabricates photographs that make himself look undeniably gay – thus preventing his employers from sacking him without making it look like they did it due to his sexuality. When he 'comes out', the rumours start but his job is safe – in fact, the management move to clamp down on the behaviour of one of the management team who is homophobic. Worried for his own job due to his warning, Felix Santini is convinced that, in order to fit with the company line on homosexuality, he must be especially nice to Pignon and show how modern he is. However this only serves to create more misunderstandings within the workplace.

With the natural American remake surely only a matter of years away, I was glad that I had the chance to see this film before the remake rather that afterwards. Able to view it as an original piece of work without any other spin, I found it to be a rather charming little film – slight and lacking real bite but still providing gentle laughs and subtle comment. The plot allows for the film to look at the way that homosexuality has changed over the decades to the point now where it is acceptable and yet still looked down upon (but not openly in public – that is not PC!). It also manages to bring in other threads involving Felix's homophobia, a thread that starts out being very funny but later becomes quite touching and delicate. It never really gets very convincing as a serious plot or a real sharp commentary but it is a light comedy – I didn't expect it to. A heavier plot would have spoilt the enjoyable light mood the film had which does manage to turn a little more serious towards the end without losing the comic spirit it had early on.

Veber is a good comic direction and I have liked several of his films that I have seen. Here he brings together a good cast to build on his witty script. Auteuil is, as he often is, very good. A comic little fool that grows on the audience and develops as a person over the duration of the film, he plays it well and is nicely understated – I hate to think how Hollywood will deal with a character pretending to be gay: terrible camp clichés (Will & Grace, Birdcage) will be much more likely than anything else. Depardieu was a surprise find but he was also very good – starting out in a very comic role at first but skilfully making more of it and making the changes to his character pretty convincing. Support from Lhermitte, Laroque, Aumont and others are all good but the film is easily stolen by Auteuil and Depardieu.

Overall a very enjoyable little film that has a good comic tone as well as an interesting story. Never consistently hilarious or going too much the other way to be pointed and political, it judges the mood just right and has a bit of both, producing a balanced film that, despite being a little slight in several regards, is enjoyable and interesting – I hope the inevitable remake can do it justice.

Anyone who dismisses foreign films as too abstract or intellectual should see this one; it functions no differently than any American comedy. (By American comedy, I'm speaking of movies like the better Coen Brothers or Woody Allen comedies and not mass-produced garbage like "White Chicks".) Many times I completely forgot it was in French and that I was reading subtitles.

Daniel Auteuil is great in this charming film. His sad-sack loser is reminiscent of William H. Macy's most famous roles, or perhaps Jack Lemmon in "The Apartment".

Everything goes wrong for François Mignon. Neither his wife, who left him two years before, nor his teenage son will have anything to do with him. He is ignored at work, and finds out through the grapevine that he has been fired.

His next-door neighbor talks him out of suicide and comes up with a plan to save his job: if Mignon pretends to be gay, the company will not want to look homophobic by firing him.

This plan works perfectly, and Mignon is thrown into a number of increasingly ridiculous situations, now that he is reputed to be gay.

The film wraps up quickly and ties together almost too neatly, but the ending fits the fast paced comic style of everything before it. Overall, this is an entertaining and heartwarming film.

English: "The Closet"

This reminded me in some ways of M. Hulot (Le Vacance de M. Hulot, the greatest comedy I've ever seen), in others of some of the best of the Alec Guiness comedies. Not for style but for quality. It's at their level.

There were fine performances by all the main characters but I was fascinated by the unfolding of the plot. All the pieces fit together so intricately and well and so few liberties were taken of normal human reactions -- almost everything was within comfortable bonds of believability. Well, there were a couple of minor stretches -- the catalyzing role of a sexual encounter in finally transforming M. Pignon's personality was one, but wouldn't that be quaintly Gallic? And the transformation of his son was another, but then -- teenagers can sometimes be unpredictable, can't they? And it had only one broad sterotype, Mr. Santini (Gerard Depardieu). I left the theater amazed at how well the various facets of the plot fit so well together that it reminded me then of a Chinese wood block puzzle; now, a week later, that still seems most fitting.

This is _not_ a movie about being gay; that's only the gas that fuels the car that takes the people on that trip. It _is_ an observant, droll film about office politics and the way people's views of others can be distorted by labels. I'm sure -- within a few years -- this will be considered a classic and deservedly so.