There’s almost no nation that hasn’t made its own version of the “we’re putting the cell phone on the table and falling over the potty” themed relationship drama, and why exactly would the French be left out. If anyone does, then they also understand love, storm, and hypocrisy, and well, they have a good few decades of comedy experience in their bag.
Photo: IMDB
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Of course, there is much more to this than a well-structured comedy, the different national versions of Totally Aliens are very serious dramas, and here it doesn’t matter if you have fois gras, spaghetti or bejgli on the menu, and whether you drink biodynamic wine or Tokaj szamorodnit, the point is that we cannot live without lies, but at least without silences. (Respect for the rare exception.)
Of course, who sees what is a lie, a concealment, or simply insider information that does not belong to anyone other than him, there is a lot of movement in it, there are those who just don’t beat the breast augmentation surgery, there are some who go to a psychologist, that a never she flirts with an unseen family father only virtually, and there are those who want to fuck their mother-in-law in a nursing home because she has not had sex with her husband for months due to forced cohabitation.
AND THERE IS SOMEONE WHO, IN FEAR OF EXCLUSION, BECOMING RAPID, DOES NOT DARE TO TELL HER FRIENDS THAT THEY ARE ATTRACTED WITH THEIR SEX.
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Of the versions I’ve seen so far, the French are the most outspoken, Fred Cavayé’s not-so-imaginative cinema, Le Jeux (The Game), leaves nothing to the imagination, leaves no ambiguities like the original Italian, at the end of which they even confuse viewers that then this is how it is understood. Of course the end, so the interpretation itself is different for each remake, the French put a code at the end of the story as if the whole thing hadn’t happened, so it goes on, it ends, as if we had just had it at a plain gathering of friends, a conversation part with old classmates and friends known a thousand years ago, we roared, laughed, but we didn’t go deep, but no one was hurt. Obviously it would be better.
Photo: IMDB
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The biggest twist of the film, when it turns out that his new wife is cheated on by the corporate dispatcher chick and is pregnant, a big silly snowball is also loved by the host’s wife, both dramaturgically and visually: the woman (Bérénice Bejo) visually received earrings and returns them, on the other hand, through the rooms of the apartment and its shading lamellae, the husband also sees that the earrings are nowhere to be found, and then the words are no longer needed.
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The most complex, seemingly purest, but in fact the most confusing character in any of the versions, by the way, is the host psychologist, who only turns out at the end of the film to be
NEVER HEALS SOULS AND LIVES, NOT ONLY SWEETS HIS HUSBAND, BUT ALSO HIS FRIEND AND FRIEND’S WIFE.
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Argentine-French actress Bérénice Bejo is one of the strengths of the film, but also an extremely sympathetic, currently unemployed gym teacher (Grégory Gadebois) fired for his homosexuality, or the host of the most honest, cleanest and mature figure in the whole film, father Belgian actor Stéphane De Groodt), who gives a startlingly beautiful and exemplary answer when her seventeen-year-old daughter asks whether or not she will now go through the baptism of fire with her suitor in the unexpected situation. One almost facilitates this dialogue where the father is exalted and the mother falls ugly in her mother role as well, but the father also protects him by saying it is not easy for him with a self-righted teenage girl and asks her daughter to try to understand her mother. This is the most beautiful scene in the film, and according to the rules, it takes place in front of the whole company.
So drama is drama on the back, and in the end the whole twists and turns, as if it were just an imaginary game, a bad dream, and running the cinema of our lives on. With our lies.
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