A car rushes across the night Paris, exceeding the speed limit. Driving – a black resident of the outskirts, the passenger's guardian – a rich invalid, paralyzed for the rest of his life. They bet 100 euros that Driss can get away from the cops. And soon they will be accompanied by a police escort who has ruined Philip (in favor of his nanny) by 200. Behind them - - years of an unknown separate life and months of a long but bright acquaintance. Now they – perhaps some of the strangest friends in the world. They – The Untouchables, and they managed to blow up not only France, but all of Europe.
Forgive me for the abundance of allusions to sentimentalism, but this movie tunes in exactly this way - and ndash; on the sensory perception of everything around, and on the same emotional return. " Untouchable " (by the titanic efforts of our wisest localizers, we are called primitive `` 1 + 1 '') – the amazing fruit of the labors of Olivier Nakash and Eric Toledano – this is something after which, as they say, you want to live.
Based on real events, this story is by no means about pity and compassion, and not even about the struggle with one's own illness (and even less about problems globalization, immigration and multiculturalism, even if the inhabitant of the outskirts and made black). This – the story is ingenuous, unpretentious and, adjusted for the circumstances, far from the most original, but, most importantly, involuntarily clinging to the soul; scraps woven together from two completely different lives, telling about a thing as simple as it is important. In short, this is a story about friendship.
Built on contrasts, the relationship of the protagonists is the clearest example of complementary opposites. A wealthy paralytic who, for all his fortune, is unable to buy his former life, becomes next to a poverty-stricken emigrant, and over time, the relationship between the employer and the worker develops into pure, sincere and open sympathy. But the most amazing thing here is that all of this – all these seemingly familiar techniques and situations – not even cliches. And the realization that such, one might say, a fabulous incident took place in real life further enhances the effect of viewing and the aftertaste.
Is it worth reminding that the main thing in movies built solely on conversations, on the characters' characters and their interactions? The duet of Francois Cluse and Omar C was incredibly powerful! And spectacular! And pleasant, and endearing, and, what is already there, hefty productive. And most importantly – hilarious.
Nakash and Toledano – with the filing of the real Philip Pozzo di Borgo – they did not turn the adaptation of the most significant episode from the life of this person into a story that has already become commonplace about overcoming oneself, about local heroism and other nonsense that has set the teeth on edge. Untouchable is a tragicomedy; melodrama, the cup of which was diluted with a hundred or two tablespoons of fun. Not always refined, but invariably light and punchy, European humor makes you laugh even at trifles, so it seems insignificant that you yourself are surprised at it. It is worth the cheerful Philip to drop an innocent, innocent simple comment about certain actions of the faithful Driss; or to that, in turn, by the simplicity of the soul, to forget partly – in the most sophisticated form – about the ailment of your employer, as you already catch yourself smiling, with your mouth wide, squinting your eyes and exposing at least 30 teeth. And so, with rare changes and additions, throughout the movie! And the merit here belongs not so much to the scriptwriters (who were the directors), but to Cluse and C themselves, with their skills, as already mentioned, turning even the most innocuous phrase or body movement into a catchy joke.
They, on which the bulk of the movie rests and around which is built, phenomenally organically got used to their roles. That refined, aristocratic and sweet Philip, that the uncompromising, direct and straightforward Driss, in the performance of the above-named duet, they both really come to life, and become heroes of the holiday of life arranged by themselves and for themselves. And now I want to say that this is especially true of Francois Cluse, who had to reveal the image with only one head, without gestures and facial expressions – but this will already contradict the very spirit of the picture in which two - and ndash; it is only half of the whole. So they performed equally excellently, portraying joy and laughter in an incredibly realistic way, as well as, in some episodes, sadness and sadness.
Everything else, `` 1 + 1 '' – the movie is unhurried. It will not tighten – it is precisely that you are in no hurry, allowing you to fully enjoy every moment and every frame, but at certain points – and with every sound of music, incomparable in its soothing effect, piercing the picture from the drive through Paris in the introduction, through the charming canvas and to the final shots showing the real Philippe and Driss.
This tape – light, attractive, cozy and not devoid of elusive, perhaps French charm, embodying all that beautiful that can still give – and undoubtedly, and repeatedly will give the world the oldest cinema – this tape sinks into the soul thanks to its simultaneously beautiful form and enchanting, calm and pacifying content. What is called Made with a soul. And for the soul.
piercing the picture from the drive through Paris in the introduction, through the charming canvas and to the final shots showing the real Philip and Driss.
This tape – light, attractive, cozy and not devoid of elusive, perhaps French charm, embodying all that beautiful that can still give – and undoubtedly, and repeatedly will give the world the oldest cinema – this tape sinks into the soul thanks to its simultaneously beautiful form and enchanting, calm and pacifying content. What is called "Made with a soul." And for the soul.
piercing the picture from the drive through Paris in the introduction, through the charming canvas and to the final shots showing the real Philip and Driss.
This tape – light, attractive, cozy and not devoid of elusive, perhaps French charm, embodying all that beautiful that can still give – and undoubtedly, and repeatedly will give the world the oldest cinema – this tape sinks into the soul thanks to its simultaneously beautiful form and enchanting, calm and pacifying content. What is called "Made with a soul." And for the soul.
attractive, cozy and not devoid of an elusive, perhaps French charm, embodying all that beautiful that can still give – and undoubtedly, and repeatedly will give the world the oldest cinema – this tape sinks into the soul thanks to its simultaneously beautiful form and enchanting, calm and pacifying content. What is called "Made with a soul." And for the soul.
attractive, cozy and not devoid of an elusive, perhaps French charm, embodying all that beautiful that can still give – and undoubtedly, and repeatedly will give the world the oldest cinema – this tape sinks into the soul thanks to its simultaneously beautiful form and enchanting, calm and pacifying content. What is called "Made with a soul." And for the soul.
The Topic of Article: Review of the movie 1 + 1. Brothers in Mind.
Author: Jake Pinkman |
