Untouchable

Rating: 8/10 (21 October 2014)

The French dramatic comedy, 'The Intouchables,' is the story of a wealthy quadriplegic male who hires a negligible criminal to be his caretaker. The story follows the development of their unconventional relationship and includes meaningful lessons pertaining to the social, yet superficial differences that continue to divide people of different status. This light-hearted and extremely sentimental film will engage and capture hearts of people of all ages.
Directed by Oliver Nakache and Eric Toledano, natives of France, whose resume includes a series of French films such as Samba (2014), Tellement proches (2009), and Those Happy Days (2006). While these films are more than likely unheard of by most Americans, 'The Intouchables' managed to creep into American film society and was nominated for a Golden Globe in the category "Best Foreign Language Film." Furthermore, the film has earned $340 million, an all-time record for a foreign-language movie not made in the United States.
The film sets itself apart from other European hits and is not based on a famous novel, such as The Girl With the Dragon Tattoo. Based on a real-life friendship, the directors tailored the film for wide appeal. And while the film does not mimic the same origin or approach as its counterparts, it proves to be a rare commodity: a film that almost everyone sees and enjoys.
The film boasts no big-name actors, yet the duo proves to be nothing short of captivating. The opening scene in which Francois Cluzet's character, Phillippe, and Omar Sy's character, Driss, are involved in a late night pursuit by law enforcement is gripping and unpredictable—a clever hook that piques the audience interest in a seemingly unconventional pairing. However, the chemistry between the actors is the riveting personification of the mentor and the initiate.
The story of the middle-aged widower, permanently injured in a paragliding accident, who chooses Driss, and ex-con, over better qualified candidates for the job as his caretaker—allowing the antics and pulling of the heart strings to commence.
The film does its fair share of alternating between comedic and tear-jerking moments. Told he must help Phillippe void his bowels, he erupts, "I'm not emptying the ass of a guy I don't know. Or even of a guy I do know. I don't empty anyone's ass, on principle." Driss's initial attitude in the beginning of the film sets up what seems to be a predictable situation in which an individual of the lower class must care for and provide service to an individual of more aristocratic class. However, this seemingly predictable relationship is shattered as the film progresses and the development of the duo's relationship is mesmerizing. While it seems that Driss must overcome the bounds of his socioeconomic status and criminal past, it is Phillippe who has a great deal to learn from Driss.
The film's evident exploitation of stereotypes adds to its remarks on social and moral commentary. The height at which the film touches on social commentary would not be as effective if it were not for the cultural clash between Phillippe and Driss. For example, Driss deems first-class art as laughable and opera and classical music tired at best. This divide between cultural opposites comes to a head when Driss show's uptight white folks how shed the rigid confines of top-tier mannerisms and get down to Earth, Wind, and Fire. While it is understandable why some critics would regard this as a racist film, I think it would be more appropriate to state that it is full of clichés about the unyielding haves versus the free-spirited have-nots.
Also, the development of the duo's relationship is accompanied by subplots such as Driss's family dynamics and Phillippe's love interest, which he has not yet met. While these subplots were plausibly unnecessary, they support the situational maturation of Driss and Phillippe's friendship. While these subplots were small aids in the development of the individual characters, they could be expanded or cut from the film altogether. In my opinion, these minor distractions did very little to minimize my engagement with the film.
While the film may not have dominated American film society, it is sure to be a smash hit in the box offices that are our homes. Blatantly manipulated stereotypes gear its audience for a telltale story of hope and friendship in the most unlikely of places. The film is chalk-full of surprises that are sure to make you giggle and smile. The film should not fall victim to the crime committed by opponents of foreign films—failing to watch because they refuse to be annoyed with subtitles. And there is speculation that the film will be remade in the U.S., the lesson of possibilities, regardless of trivial limitations, bear repeating in any language. While some may argue that a predictable plot plagues the film, its impact and lasting impression will be made by its use of comedic relief among situations that may otherwise be considered as non-thought provoking and daunting. The film has a funny way of capturing the hearts of its viewers and should not be overlooked for its French roots.