A portrayal of an unlikely friendship, so resolute as to be "Untouchable"

Rating: 10/10 (20 November 2013)

It's been a while since I have had such a good laugh, quickly followed by tears when watching a film. The last one was probably 50/50. The Intouchables, however, I found to be a much more emotionally evocative and explored difficult topics (i.e. racism, socioeconomic strata, gangs, disability, sex, parenting, loyalty, and acceptance) with eloquence. Not to mention the soundtrack, which was diverse, including both classical/piano solos and R &B, but exceptional.
Omar Sy, a little known actor, showed impressive acting talent on par with Francois Cluzet; The two had wonderful on screen chemistry. Any lesser performance of Drisser could have easily made him a hateful character. Somehow, despite the harsh things Driss says and his seemingly unempathetic actions (brazenly making his way into the interview and demanding a signature; refusing to compromise for his gracious employer or any of his coworkers; aggressively pursuing Magalie, making almost offensive passes; pouring hot water over & over, fascinated to see that Philippe cannot feel it, always acting like the tough guy and refusing to show any kindness or weakness; his carelessness almost causing serious harm to Philippe a few times), Omar Sy manages to make Driss quite the opposite. Of course, we soon learn that despite the act he tries to put on, he has a very kind heart. This is exemplified in so many indescribable gestures, allowances, and gestures throughout the latter part of the film, my favorite being the final scene of course, where he has set up a date for Philippe to meet Eleanor. Philippe and Eleonore had been carrying on with an epistolary relationship for over six months, but Philippe had, to that point, been understandably too afraid of rejection to reveal his true physical state and situation.
The other more minor characters are almost all played wonderfully as well, Yvonne the awkward co-worker, Magalie, Philippe's secretary and Driss's love interest, Driss's mother/aunt, and his other family members. Even Philippe's brother and the caretaker who replaces Driss.
The impressive thing is that this film manages to not only be funny, but witty. And there is a significant difference. References to popular culture, art, music, and current events (Obama, Hitler, Bieber, Michelangelo (The Turtle), Goya, Dali, Opera, Mozart, Schubert, Earth Wind, & Fire, etc.) are welcomed and educated, usually given in the context of witty banter. The cinematography, especially on the weekend paragliding adventure and the closing scene by the Cabourg seaside, is extraordinary. The use of angles and mise en scene is great throughout, even in the opening scene of the car chase in the Maserati.
In the end, the title really says it all. It should really be named "The Untouchables", as "intouchable" is French for "untouchable". This is a story about disability, racism, and all those other difficult-to- discuss topics. But on a deeper level, it is about friendship, love, and loyalty. Throughout most of the film, nobody understands why Philippe has hired such an unqualified individual, seeing Driss as a true outsider. The two of them, however, in their own way, don't give a damn about what anyone else thinks. Through their friendship, they teach each other things, learning and enriching each others' lives, bringing out the best in each other. Like any great friendship, they have many inside things nobody else would really understand, illustrated in numerous favorite scenes, like the erogenous zones of the ear, Driss's comments regarding the audacity of The Opera, Driss's initial lack of appreciation for art but then creating a masterpiece of sorts, "Nice knowing you!" (Philippe giving Driss a difficult time during their flight), "Where can you find a tetraplegic? Where you left him!", the endearing way in which Driss dances to Earth, Wind, & Fire and encourages other guests to do the same, turning Philippe's usually sad affair of a birthday party into a fun one, etc. etc. etc. In this way, their unlikely friendship is untouchable.
Individually, of course, they are also separately untouchable, Driss with his blunt, hardened approach to life and others, and Philippe quite literally, being a quadriplegic. (Notably, in regards to his birthday party, he mentions how everyone acts like they care, but the sincerity is questionable.) For these reasons, sadly, most of society treats them as "untouchable"; individuals of a lower class.
That this film is based on a true story makes it that much more extraordinary. I realize some of the facts were misrepresented, but that is why it is "based on" and not a true biography. I intend to locate a copy of Philippe Pozzo di Borgo's "A Second Wind" and/or Abdel Sellou's (Driss) "You Changed My Life" when I can.
For me, the idea that this film was predictable means nothing. The art of great cinema is taking a story, predictable or not, and illustrating it in such a way that viewers fall in love with the characters and walk away feeling differently than when they began; inspired to think differently, act differently. The Intouchables did this, without a doubt.