No Pity

Rating: 8/10 (12 June 2015)

Intouchables opens with a non-linear introduction of the two central characters, Philippe (François Cluzet), and Driss (Omar Sy). It's a remarkable direction to go with because it so easily and gently presents the strong bond of the pair in just a few minutes. We later come back to this scene and it slips into the narrative quite comfortably. The important thing about their on-screen relationship is that it doesn't lean on the handicap which defines the difference between them. You get a genuine sense of connection and attachment with only a few lines and that's before the wheelchair or the disability is revealed. Such is the chemistry and performance of the pair that they shine in every single scene of the film.
The whole disadvantaged person comes into contact with a higher class and changes his whole life and perspective is not the most original story of course. It's an slightly altered version of the white saviour narrative; a more modern Driving Miss Daisy if you will. It's not so much a race issue; Driss' real life counterpart was not black. But it's still quite easy to distinguish the difference in class. There's a nice piece of cinematography after the open where we dolly across a row of applicants for the role of carer, seeing a blurred pallet of pant suits and leather shoes until we reach the sweatpants and worn sneakers of Driss. It doesn't get much more explicit; for most of the film his background isn't referred to that often. A hint of criminal activity there, a few insights into the cramped apartment he shares with his extended family. The hand-held cam gets whipped out for the seldom times when Driss is actually among similar demographic, but there's not much really happening. It's never even made clear why Driss has to leave and help out his family other than some sort of street-fight. Some may deride this approach as shallow. We see the extraordinary good side of Driss and not the bad side. Those criticisms have some merit but for once it is refreshing to kick back and just be entertained instead of expecting a thorough investigation into the race- relations and poverty scene of modern day France.
Driss is one of the most likable characters of recent times because there are no real repercussions for his story. The screenplay does not aim to provide a start-to-end standard plot but leans heavily on their characterisation and chemistry. It's a very simply premise which we've all come to expect. Driss isn't even Tsundere from the beginning. He shows no real aspirations in life and aimslessly bounces from place to place, living on the benefit. And so Philippe makes a wager; for the person who has lived on assistance his whole life to try his own hand at assisting others. The opening scene is a very obvious endpoint of the relationship but that does not derail the set up.
Omar Sy's performance is one of great laughter and passion. It doesn't take long before he warms to the whole scenario and the chemistry between him and Cluzet is palpable from the very beginning. Much of that is derived from humour; the pair manages to turn most scenes into comedic ones and their relationship is so authentic and heart- warming that their laughter becomes contagious. There's more serious conversations as well; these are fair and few between and don't overstep their boundary. There's of course a mid-film montage as Driss gets more settled in, but that comes after a large stretch of discourse time where we familiarise ourselves with him. His character is pretty distinct amongst all the other candidates (perhaps a little too distinct as evident by the horrible job the replacements do). His larger than life reactions to the high class living conditions, his amusement at every little thing, his childish attitude and caring nature. One of the most thematically important quotes of the film comes from Phillipe: "That's exactly what I want. No pity." It encapsulates their entire relationship as transcending the disability; Driss sees him as a friend, as an equal. It strengthens their bond so much more. There's a moment when they attend a 4 hour theatre play. The first act begins and an absurdly dressed man walks on stage, playing a tree, and starts to shriek in German. Driss takes one look at this and bursts out laughing, while moments later Phillipe starts to hold back chuckles as well, apparently recognising the ridiculousness of it all. It's so easy as a viewer to slip into either of those mindsets.
Intouchables, like many other films based on true events, doesn't attempt to give any true ending or sense of closure. There's the love plot of Phillipe's epistolary relationship which attempts to once again give him that happy ending but is overshadowed quite easily by that of Driss'. It's a very authentic and genuine friendship which evolves slowly but surely, not driven by plot but a pure and deep connection. Omar Sy's captivating performance is enough to stamp out any minor flaws in the film (the painting storyline being one of them). Even recognising them, it's a very hard film to dislike.