Movie Pick

Toujours Gai

originally published September 26, 2001

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Daniel Auteuil (Jean de Florette and Girl on the Bridge) stars as François Pignon, a pathetically boring accountant at a rubber company that makes condoms. In one of the film's opening shots, Veber humorously characterizes Pignon's relationship to his peers during a company photo, as Pignon attempts to push and squeeze his way into the side of the frame, but is ultimately left out when the picture is finally taken. His equally depressing personal life consists of an ex-wife who prefers that his answering machine messages be their only interaction and a son who dreads their infrequent visits. When Pignon learns that his company intends to fire him, he considers jumping off of his apartment's balcony.

Upon seeing him outside, his neighbor, Belone (Michel Aumont - a Veber veteran), wisely tricks him into a talking about his problem and convinces him that he will soon find a solution. Noticing a photograph of Pignon, Belone decides to superimpose Pignon's face onto a picture of two men dressed in leather bondage outfits, and to send the finished product to Pignon's company. Conscious of the loophole created by a politically correct society and its effect on the modern corporation, Belone reasons that such a photo would provide Pignon with corporate immunity, since they would be afraid of the legal ramifications of firing a gay employee. Nervous of being caught in a lie, Pignon asks Belone how to "act" gay. Belone poignantly observes that Pignon should not change anything about his behavior, as people's misconceptions will draw the desired conclusions.

Belone's plan works to perfection. While corporate bigwigs discuss the delicacy of the situation during the morning meeting, Gerárd Depardieu's (Get Out Your Handkerchiefs and Cyrano de Bergerac) macho Flix Santini continuously makes insensitive remarks.

In a mischievous response, his colleagues warn Santini - also the company's rugby coach - that his inflammatory comments are endangering his job, and that he should probably take special interest in Pignon's well being.

This response is only the first in a series of reversals for Pignon. Although his personality remains unchanged, everyone, including his estranged family, finds him to be far more fascinating when they learn his supposed secret.

As with his past work, Francis Veber's greatest comedic strength lies in his ability to extract every possible joke from such a simple premise. He simply recognizes a situation's comic potential, and is not afraid to take the film in every possible direction.

Paradoxically, the film's more dramatic moments greatly augment its humor by giving the characters clearly defined motivations, thus creating a stronger connection with the audience. Although the friendship between Pignon and Belone begins rather inauspiciously, it quickly develops into something beautifully genuine, and a revelation of Belone's past adds gravity to the lighthearted story.

Also, though it gets little screen time, Pignon's relationship with his son inspires a great deal of empathy, since he's afraid to tell his son about his fraudulent pose, for fear that his son will not spend time with him anymore.

The film borders on farce towards the end, but its overwhelming charm absolves it from any permanent damage. Some of France's most prestigious actors smoothly slip into these funny roles, and their enjoyment and ebullience easily transfer to the audience. These socially aware comedies are rare in America, so enjoy the French original before its blurred, pale, remake surfaces in the coming years.