In a matter of thirty minutes this movie reminded me of the magic and authenticity of the movies of the 90's

Rating: 10/10 (11 April 2020)

In a matter of thirty minutes this movie reminded me of the magic and authenticity of the movies of the 90's: wholesome, complex, multi-dimensional, moralistic, philosophical, authentic, and humane. All of these adjectives perfectly apply to the invigorating tone and narrative that the "intouchables" attempts to conduct and does excellently. Why does it hit a special spot though?
The smiles, lighthearted fun, respect, companionship, unity, passion, and dedication are clear eidos showcased incisively to allure us into believing that a poor black man from the suburbs can establish an extraordinary relationship with a white aristocrat. The connection surpasses race, class, education, and ideology. In a time where we are overpoweringly divided by all types of distinctive identities here comes a movie that forgets all of that and shows us that sometimes if you put two people with a desire to connect all of those features seem insignificant.
Driss' (Omar Sy) unintentional naiveté and WIDE smile gave a certain energy of happiness and authenticity that broke many of the barriers that Paul (Francois Cluzet) experienced. You truly felt that there was no other ulterior motive that to demonstrate unconventional friendships unfold through the desire to make each other happy and connect. Temperament, sense of humor, energy... were a clear catalyst, but both protagonists had a clear background of need and neglect. Driss adopted by his uncle and aunt was kicked out of his house and had to find some form of income to be able to survive his situation. He also never had a real family, so the prospect of becoming part of Paul's family, even if processed intuitively, was not a dreadful idea. Paul with an obvious need for connection and care was struggling finding a passion and a woman that could eclipse his past tragedies.
Paul immediately connected with Driss' crude and inappropriate humor. Maybe he was exasperated with courtesies and niceties of the aristocratic life, or he was looking for people to be real with him. Driss was abrasive, despondent, improper, invasive, and careless, but also authentic; he had no problem confessing he was leeching off the welfare system. Eventually Driss becomes part of his life, literally an extension of him, as he suggests Paul to discipline his daughter or just to keep him company in the tribulations of handicapped life.
The movie is seriously uplifting. Using Ludovico Einaudi's beautifully harmonious classical music, it amplifies the viewer's sensibilities to create an experience that gradually immerses you into a world where truly everyone can connect and overcome their struggles.