In amore c'è posto per tutti

In Pierre Salvadori's film 'Aprez Vouz', Daniel Autiel's character plays a man whose life is ruined after a would-be suicide, whose life he saves, subsequently becomes dependent on him. Some of the comedy is painful, and most of it is stupid, but it's done with a certain underhand style, and the development of the plot, while not exactly plausible, moves the story onwards in unexpected directions. It drags in places, but it's hard to avoid smiling in others - overall, it's hardly a masterpiece of French cinema, but it is a gentle, quirky piece, endowed with a refreshing air of innocence (such as rarely circulates in Hollywood comedy).

Antoine (Daniel Auteuil) is a head waiter in a chic Parisian restaurant and lives with his girlfriend Christine (Marilyne Canto). His work occupies a lot of place in his life. One evening, by going through a park to be more quickly at his apartment, he saves from suicide a neurotic man Louis (José Garcia). After vainly attempted to take him back to his close relatives, he takes him under his wing and succeeds to find him a job as a waiter in his workplace. Louis wanted to kill himself because his love affair with his ex girlfriend Blanche (Sandrine Kiberlain) went unravel. Antoine found her again because he wants to reconcile them again. She's a charming florist and, you guess it he becomes enamored of her. From then onwards, his well-ordered life starts to showcase signs of poor running.

I'm a little surprised but glad to discover that this little high charged, hilarious comedy enjoys a small reputation abroad. About twenty reviews have already been posted for this film and most of them gave the movie thumbs up. I will post another positive one in spite of minor flaws Pierre Salvadori's film showcases.

Some will be probably surprised but the outset reminded me of Jean Renoir's classic "Boudu Sauvé Des Eaux" (1932), perhaps because of the quite prestigious situation the main protagonists of the films occupy and maybe also because they save from suicide ill-fated men who are cracking up. And then, the saved ones immerse themselves in their rescuers' lives and disrupt their living environment. But although both movies are comedies, they don't belong to the same sub-category. Pierre Salvadori preferred not to follow the steps of the master which bestowed his own work with a strong social satire whiff. There's no trace of it in "Après Vous", although there may be an inkling of it in the following sequence: when Antoine takes Louis in the cellar and shows him the names of the different wines. Louis is afraid not to recognize the right wines and I think that Antoine answers him the customers ape the connoisseurs and don't know anything about wines. The director preferred to choose the road of the sentimental comedy and to especially focus on Antoine's turbulent love life.

Pierre Salvadori commands his film at arm's length and delays the most momentous moment of the movie (the meeting between Louis and Blanche) to better linger on Louis' new life and especially on Antoine's love trouble. In a way, by making Louis work in his restaurant, by undertaking to reconcile him with Blanche and unfortunately by having a crush on her, he is a victim of his generosity. And Louis doesn't really realize the situations in which he puts Antoine. There's a funny sequence around the beginning of the film during which Antoine is at Louis' grandmother's and tries to alter Louis' suicide note in a placating, comforting letter. Then, deep down inside him, he thinks of leaving his ex girlfriend to live with Blanche and has to lie to his protégé and circle not to arouse suspicion about his real motivations. The movie becomes very enjoyable when it accumulates misunderstandings and embarrassing situations linked with Louis' job as a waiter or Antoine's sentimental trouble which the latter tries to escape by hilarious means (check the sequences in the Chinese restaurant). The scenario is also interspersed with droll lines: "how do you find the chicken? Dead".

A threesome of actors serves the film. Daniel Auteuil is able to provide enough caliber to his character to watch the film until the tail end and I would like to congratulate the user "writer's reign" for the tasty pun he inserted in his review: "maitre d'Auteuil". José Garcia who earlier showed in his career that he could hold comical as well as dramatic roles (Philippe Harel's "Extension Du Domaine De la Lutte, 1999) shines as the neurotic, wound up Louis, indirectly responsible of Antoine's mishaps. At last, Sandrine Kiberlain, a little frail, naive but the director never ridicules her. She was ideally cast as Blanche. In French, this name is also an adjective which means white and the actress has a somewhat pallid face which suits well to both the name and the personality of her character.

If the director honed his work with a palpable painstaking care for much of his work, there are little setbacks towards the end of the road. The end is thoroughly unexpected but was made in a rush and the trick of the lighter has been seen many times before. But these flaws aren't major enough to reject Salvadori's film. So, "Après Vous" and enjoy your film!

It seems when it comes to romantic comedies the French have the corner on the market and technique. APRES VOUS is a bit of pastiche with a storyline that borders on absurd, but in the hands of director Pierre Salvadori it becomes not only an enjoyable farce, but also a tender little statement about compassion.

Antoine (Daniel Anteuil) is the fastidious and ultra compassionate manager of a high-class restaurant who bends over backwards for his staff, his patrons, and anybody who crosses his path who appears needy. He ends up making his girlfriend Christine (Marilyne Canto) take second place to his humanitarian concerns and this puts a strain on his relationship. One evening in a rush to meet Christine he encounters Louis (José Garcia) who is in the process of hanging himself in the park, his desired finale to a life of frustration and loss of his girlfriend Blanche (Sandrine Kiberlain). Naturally Antoine rescues him, feeds him, even brings him home, all the while putting his life on hold to help Louis heal his wounds. Louis is most concerned about the loss of Blanche and Antoine immediately commits his efforts to find her, woo her back for Louis (including revealing Blanche's current boyfriend's infidelity) - but in the process there develops a mutual attraction between Antoine and Blanche! Antoine arranges for Louis to get a job at his restaurant despite Louis' depression and lack of training. Just when everything seems to be turning out for the best, Christine leaves Antoine, and the circumstances surrounding Antoine's salvage of Louis' life change and the ending is somewhat of a French twist! The acting is fine, the pacing is fine, the only problem is with the characters themselves: we soon tire of Antoine's absurd selflessness and Louis' nerdy helplessness and that hampers the identification with these characters. Other than that the film is a brisk, sweet little French farce that leaves you humming. Grady Harp

This has to be, no contest, the best restaurant-based movie since Claude Sautet persuaded Yves Montand and Jacques Villeret to don monkey suits for 'Garcon'. They get the mix just right between humor and pathos and although it's based on a dubious premise for the 21st century - maitre d' Auteuil spots Garcia trying to top himself, intervenes and then, against all the odds of cynicism, feels obliged to 'adopt' him and straighten out his life - it still works. This straightening out includes fixing up klux Garcia with a job as sommelier at Auteuil's restaurant which means in turn that Garcia must compete in an interview/audition with people who have actually worked as sommeliers. Given that Garcia knows as much about wine as Ludivine Sagnier knows about acting with her clothes on the audition is a hoot, with Auteuil, sitting in, natch, on the interview and attempting to coach Garcia surreptitiously. The main reason that Garcia was interested in running out of breath was the fact that he'd been dumped by a girl friend and nothing will do but that Auteuil must intervene once more and attempt to win back the ex-girl friend, who is now involved with someone else. Not unnaturally, Auteuil begins to fall in love with said girl friend which is not exactly hard given that she is played by Sandrine Kiberlain, a great actress with an elusive beauty which is hard to classify. She doesn't do chocolate-box like Audrey Tautou, she doesn't do chic like Catherine Deneuve, she doesn't do warmth like Isabelle Huppert and Fanny Ardant and she most certainly doesn't do slut like Ludivine Sagnier, whatever she does she does it to a fare-thee-well and if you don't believe me ask that swine Vincent Lindon, who married her before I could get there first (just kidding, Vince, you're a great actor yourself if anybody asks you but WHY did you have to take her off the market?). This complication gives the movie an extra fillip, a touch of the Cyrano de Bergeracs, with Auteuil pressing a claim for a guy who is now, to all intents and purposes, a rival, although unlike Cyrano, who has been in love with Roxanne all his life and is himself unattached, Auteuil is - or was - in a happy relationship until these life-changing events. All in all a very fine movie worth a couple of hours of anyone's time provided they are motivated by people and the Human Condition and not Matrix-type fx. 9/10

Daniel Auteuil is always good value. One of France's top actors he is the master of understatement, telling us more by facial expression and body language than words ever could. However, I think he was sold short by this movie where the other characters, with one exception, were poorly drawn. Without spoiling - he rescues a man about to hang himself because his girlfriend has left him, and becomes entangled in this man's life. But there was nothing about either the guy or his girlfriend which merited someone going out of their way to help. Both totally lacked charisma, Blanche particularly was one of those women you simply want to shake in an effort to get some sort of personality into her.

Louis needed a smart punch in the mouth and frankly, when Antoine finally got to the end of his tether with the guy's stupidity and weaknesses, I was looking forward to that as the high spot of the movie.

Nothing could have upstaged the marvellous André Tainsy though, who died only a few months after this film was released, aged 93. She was une trésor absolue, carrying off her role with finesse, incredible humour, so understated - and total aplomb.

It is a funny film (and if you know Fawlty Towers, it's in that vein) in an excruciatingly painful way where you just know everything is going to go wrong and there are a couple of laugh-aloud moments but given the mood throughout, it has the unlikeliest ending you could imagine.

Brilliant music by Camille Bazbaz all the way through and if nothing else his 'Papa Tango Charlie' should have been a massive hit.