The Intouchables

Synopsis: Millionaire Philippe (Francois Cluzet) is rendered quadriplegic by a gliding accident. Out of countless job applicants, he employs a street-smart ex-con, Driss (Omar Sy), to be his carer. The two develop an unlikely and extraordinary friendship.  

Brace yourself – The Intouchables has come with a swag of European awards and has broken box-office records across France and Europe. There is no denying that it is an extremely enjoyable film but despite being “based” upon a true story it is also emotionally manipulative with a saccharine count that is off the meter. Abdel Sellou, fictionally renamed Driss in the film, has written his own memoir entitled You Changed My Life in which he tells of the close friendship he formed, to this day, with Philippe Pozzo di Borgo.  Having seen the film, I’d like to read the memoir, as I’m sure things were not as simple and rosy as portrayed in this unremittingly feel-good film which for all its good intentions clearly bears little resemblance to the realities of being quadriplegic.

The film-makers opt for a predictable style of story-telling that we have seen often before. In the opening scene Driss is driving Philippe’s Ferrari when the two men are picked up by the cops and spin a yarn to get off the hook. We sense immediately the strong bond between the men and the narrative launches into flash-back to the initial job interview in which the “odd couple” first met. These two are so odd, it beggars belief. Philippe lives in an opulent mansion, has staff waiting on him day and night while Driss is from a huge, rowdy working-class black family and has a cohort of street thugs as friends. Philippe sees a challenge in employing Driss, and as an audience we know already how the tale will progress.

It’s all too neat and easy as Driss moves from smart-mouthed punk to super-carer, at the same time dispensing his brand of street wisdom to all in Philippe’s household, while trying to crack onto Philippe’s personal assistant.  Meanwhile Philippe learns to love Driss’s sense of zany humour and is easily lured into puffing on joints, listening to Earth, Wind & Fire and partaking of fast car rides. That such a street punk could change so dramatically surprises me. Perhaps the book explains it more convincingly but in the few scenes where the film-makers try to expand the story threads of Driss’s family, the film becomes confusing and underwhelming.

So why, you ask, do I give the film the three-star, “worth seeing” recommendation? Simple! Because of the two powerful performances by the leads, combined with the uplifting sense of joy that the film manages to radiate.  Cluzet, one of France’s most loved actors (you’ll recognise his face, if you’ve seen something of French film in recent years) is so likeable as the stricken millionaire for whom Driss is a breath of fresh air in his confined life. It’s amazing how much emotion Cluzet conveys acting only from the neck up. Similarly Driss is a dream come true – a bloke who injects pizzazz into Phil’s life, even sets him up on a date, and is so irreverent in the way he relates to all and sundry. Not to mention that he’s strong, handsome and capable and soon discovers his nurturing side.

The rapport between the two men is inspired and there are so many touching moments in the story that one can’t help but be enchanted and engaged with these guys despite the predictability of the narrative and the typically French decorousness of it all.

 

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