O Closet

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.

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.

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.

This film was recently released in Paris and involved a substantial number of French comedians - Auteuil, Rochefort, Laroque, Derpardieu Lhermitte, Aumont et alia. The acting of Auteil, Depardieu and Rocherfort above all is very amusing and good. I found Thierry Lhermitte's role in this film of less "importance" than in others, e.g. Le Diner de Cons and " Le Père Noël es une Ordure". The situation (probleme of homosexuality being or not being used as a way of firing or not firing someone )relates very much to today and the average spectator will be able to relate to the scenes of the film especially if he or she works in an office. I found the film most amusing, much better than 'Diner de Cons' (which had a bitter side to it). I think this film should better stand the test of time like some of Veber's previous servings ( La Chèvre, Compères Fugitifs ). The other thing is that is is not typically French and should be able to have a truly international appeal. Veber has this gift, I think of being able to be creative outside the French "carcan" and many of his works are remade internationally. Well worth seeing, wherever you come from and especially of you are feeling down in th mouth !!!!!

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.