Um Mau Filho

It was the first time since "Max et les ferrailleurs "(1971) that Claude Sautet had left the bourgeois milieu for the working class people ;with the exception of the bookseller,an educated man :and even him is part (remember the film was made 42 years ago)of the margins of society ,because of his homosexuality (treated with a great sense of modesty).

The cast is not Sautet's usual suspects;and in this context , they are well chosen:Yves Robert as the blue collar father ,whose son is a bad lot (check the title),because his hasty departure "killed his poor mother" ; but further acquaintance shows that this daddy is not the noble samaritan whose only concern was to take care of a dying wife. Claire Maurier , par excellence the determined woman ,perhaps the only character who has kept some kind of joie de vivre ; the emigrated worker , an exiled , par excellence a man who lives of the fringes of a society not prepared to accept him ,and who becomes the hero's best friend. The gay bookseller ,fond of opera -the only touch of the privileged life Sautet had depicted so many times in the seventies (Cesar,Rosalie ,Vincent,François ,Paul,Mado et les autres ,'in danger of despair" ,to quote the director himself a propos his 1974 effort)- acts like an adoptive father,not only for Bruno but also for Catherine ,an ex-junkie ,so-called clean but extremely frail ; Catherine is probably the weakest link of the chain : badly written :the sullen grumpy girl who inevitably falls in the hero's arms ,how many time has the average viewer seen that, since "it happened one night" (1934);Brigitte Fossey was a memorable child actress ("jeux interdits "= forbidden games) who resumed her career when she became an adult ;she's perhaps too cerebral in this context.....

But it's no coincidence if Sautet paired her with Patrick Dewaere ,himself a child actor on stage,whose brilliant career was brutally interrupted when he committed suicide :it was a major loss for the French cinema ;no other actor was at once frail and strong as he was and he was not replaced in this field ;his hangdog looks , his eyes are always longing for something he's always denied ;with the exception of Romy Schneider -who disappeared in 1982 ,like him- no other actor moved me more deeply than him in Sautet's movies.

Dewaere portrays a looser,an ex-convict who spent five years in an American jail for drug-trafficking and comes back to his native land to find his father apparently compassionate but cold and resentful ,a country in a state of crisis where unemployment runs rampant ; the ending is not that much optimistic as certain critics claim ; it is an open one, and it rather indicates that the fight has only begun for Bruno.

It is not a film to be explained, it is a film to be lived! It goes straight to the heart, simply to the essential. Exceptional in truth and authenticity with a great casting of exceptionnal actors. Wonderful!

This is one of the most beautiful movies I have seen in a long time. In fact, the credit of finding it goes to late Patrick Dewaere whose film "Going Places" made me such a big fan of his that I set out to watch all his great works. This is among his best. Indeed, French movies carry something that goes straight to the heart transcending all borders and boundaries. This saga of father son relationship is told with such relaxed pace without dramatizing the situations. Both father and the son are humans who love each other and care for each other, yet unable to come to terms with their own demons. It's strange why that great actor like Patrick Dewaere despite living a short life left behind a volume of exemplary performances has not been awarded his due place amongst the greatest stars of the world. I give this film 9 out of 10

This is one of the more effective films by Sautet, a director who made commercial pictures with Romy Schneider all through the 70's. While I admired the artistry of Les choses de la vie and Cesar et Rosalie, I was a little put off by the rich decors and bourgeois sentiments. Un mauvais fils is a look at blue collar workers--Rene Calgagni is the foreman on a construction site, his son Bruno works first in trucking, then as a furniture maker, then in a bookstore. Madeleine, Rene's girlfriend runs a dry cleaning shop. Bruno is trying to remake his life after the prison sentence, and the difficulties of re-insertion into society are well-described by Sautet.

Patrick Dewaere gives a restrained performance, lacking most of the extraverted action that made Series noire and La meilleure facon de marcher so memorable. Yves Robert, despite the mustache that reminds us of Stalin, is very affecting as the severe father who doesn't know what to do with his errant son. Jacques Dufilho, playing a gay bookseller with many whimsical moments, earned the Cesar award for best supporting actor. Brigitte Fossey, playing a heroin addict who can't quite stay away from the drug even as she becomes involved with Bruno, has some fine scenes.

If Claude Sautet is most known for his films about middle class, he signs there an excellent movie about the father-son relationship, both belonging to the working class. Patrick Dewaere is the "bad" son, returning home from the US and prison, with a drug addict and trafficker past. He's great, just right the whole movie. As always, I'm tempted to say. Yves Robert, the father, is a discovery for me as an actor and a good surprise. I knew him merely as director - he directed a handful of popular success. His play was at Dewaere's height and scenes with both of us together a real delight. The supporting roles, with Brigitte Fossey and Jacques Durilho, are also very good and give us some of the nicest scenes (the opera!).

The movie in itself stays a classic Sautet if I can say, even in this different settings, letting place to the characters, time to take its course. Showing the simple things of life. Kindliness for his characters. Caring for the little details. I don't know if this is because he is focused on this relationship and not on the description of a certain world, or if this is because he films a social background he knows less and with a generation that is not his, but it works really well, better than most of his middle-class movies.

If the misunderstanding between father and son is the motor of the movie, everyone knowing them, including the spectator, can only witness how similar they are but never at the same wavelength. Sautet adds nice secondary plots and manages a beautiful movie until a wonderful ending.