Un air de famille

The obvious 'filmed play' style enhanced this for me - there would have been little to gain by making it more of a movie. Wonderful character development and fantastic acting. A disturbing portrait of a dysfunctional family - exaggerated slightly to play to the back of the house, but not too much.

The IMDb summary reads: "An upper middle-class French family celebrates a birthday in a restaurant. In one evening and during one meal, family history, tensions, collective and separate grudges, delights, and memories both clash and coalesce." Well, that's right but "upper-class" could be misleading. Upper middle-class, maybe. One brother is an executive, number 4 in a Silicon Valley type firm, but the other runs the bar -- it's more a bar than a restaurant, from what we see -- and it's no great success, more a sign of Henri's lack of ambition (that's Jean-Pierre Bacri) and the sister (Agnès Jaoui) works as an underling at the firm, and her boyfriend is the barman and she seems totally without ambition even to marry, at 30. The exec's wife is a rather ditsy blonde lady. One gets the impression that the family is somewhat going to seed. Henri's wife has just left him, Betty can't commit to anything, Philippe's totally insecure, their mom is a pain... This was a play written by Jaoui and Bacri and is full of their delicious dry humor, pettiness and grumpiness and keen social and psychological observation. I found it very funny but at the same time a bit depressing and somewhat static, since it's a play. To underline the static quality, one of the "charicters" is Caruso, a paralyzed dog. It doesn't "open up" as the 2000 Le goût des autres/The Taste of Others and the 2004 Comme une image/Look at Me do; on the other hand, the focus on personalities is even more precise. The "air" is bad air, but things don't end on a too unhappy note in this gentle, ironic comedy. Now that I'm following French dialogue more carefully, I enjoyed this a lot, including the social nuances I could catch about who gets called "tu" and who gets called "vous" and when. Klapisch keeps the camera moving but unobtrusive, adding a childhood flashback perhaps once too often, framing the story with a street panorama and a warm musical theme. To call Bacri "grumpy" may be redundant. I'm not sure what led Klapisch (who from L'Auberge espagnole seems to have a more lighthearted outlook himself) to direct this, and for Jaoui to start directing her writing with Bacri afterwards with Taste of Others and Look at Me.

The DVD by Fox Lorber is of unusually poor quality. You can't turn the subtitles on and off, and they came out half below the screen. There are virtually no extras.

This is a vehicle from and for (they both appear in it) a very gifted team of writer/actors or vice versa and in some ways a dress rehearsal for their standout Les Gout des autres which would, a couple of years later, cop a bagful of Cesars and deservedly so. Unlike other commenters I don't find the obvious stage origins a problem any more than I do with say, Francis Veber's 'Diner du Cons', which works equally well in both media. I haven't, alas, seen the stage version of this though I would dearly love to. The writing is spot on, the characters are flesh and blood and one hundred per cent believable. It's one of those movies where we can say that, yes, we all know people like this. It would be churlish to single out anyone from this fine ensemble cast, including the two authors, suffice it to say that everyone turns in a great performance. One to see again and again.

This is exactly the sort of film you'd never see coming from Hollywood, as it has no flashy stars, a very simple script and it's about people and relationships. While this might easily bore teenagers or those who long for explosions or boobies in their films, if you are an adult looking for a movie that doesn't insult your intelligence, then this is a movie for you.

The film's premise is simple. A mother and her three adult children and their spouses get together every Friday night for dinner at the same nearby restaurant each week. However, this night is different because one of the spouses (who you never see in the film) has just walked out and the time-honored tradition is thrown off kilter. It seems that because the usual routine is thrown aside, over the course of the evening, the normally happy family veneer is slowly pulled aside--revealing the ugliness and pettiness of some of them. Interestingly enough, the most interesting character in this whole thing is a non-family member (who works for one of the sons). In a way, he seems almost like an audience member watching the craziness and only later reacting to it. Fortunately, while there are some minor fireworks, all the family problems seem real and you can relate to them--this is NOT a tacky film where one person announces they are getting a sex change or another announces that they are having an affair with a chicken! No, the problems seem real and seething just under the surface. Additionally, how you perceive each family member changes a bit over time as more and more of the veneer is pulled away. One minute you like or are concerned about one of them, the next you want to slap them upside the head--just like a REAL family! I am glad that while the problems were revealed, there were no easy answers or pat resolutions. Like life, at the end, you are left wondering what will transpire next and I sure would love to see a sequel to this excellent picture. Good writing, direction and acting--this is such a simple but well-made little film.

If like me you like French films, you will like this one. There is no plot to speak of and no time wasted in car-chases and violent action sequences. There is just fascinating dialogue and the interaction of interesting characters, plus the expression of real emotion and nuances of feeling. There is an intimacy with the characters that is typically French and which the Americans rarely achieve. At the end of the film you feel you know and understand these people and are wiser for having known them.

I loved the performance of Catherine Frot in the film. She was delicious and made the character of Yolande incredibly appealing and lovable. What a crying shame she should have shackled herself to such a self-centred, unappreciative husband. He was the luckiest man alive and yet too obtuse to realise it. How appallingly sad.

The high-light of the film for me was the little dance Yolande had with the quiet, philosophic bar-man Denis, played by Jean Pierre Darroussin, who, revealing his kind heart, offered to dance with her when her insensitive husband refused - despite the fact that it was supposed to be her birthday celebration. Denis's skillful dancing surprised them all, and disclosed a whole new aspect of his personality. There is a touching moment at the bar when Yolande, suspecting Betty's romantic interest and trying to encourage it, says to her with a lovely winsome expression; "He's a good dancer." And at the end of the film when Betty and Denis are seen to declare their love for each other, she says delightedly, to the chagrin of her snobbish and spiteful mother-in-law; "You know what this means? It means he's going to be part of the family."