Sure it’s corny but The Intouchables is more than saved by an outsize performance of a main character who oozes charisma. Omar Sy acts himself silly as Driss, a brazen, just-out-of-jail caregiver for a rich, fuddyduddy quadriplegic, Philippe (Francois Cluzet). The odd couple couldn’t be more different. Philppe is refined, cultured, cautious, while Driss is direct, streetwise, and ever ready to go into a tizzy. Philippe chooses the inexperienced black man over a roomful of more qualified, stuck-in-the-mud healthcare aides because he senses something in the wild man that he can’t quite pinpoint at first. He also challenges the startled Driss, who never expected to be hired and was merely fulfilling an unemployment insurance quota in seeking the job in the first place.
Sure it’s predictable and once or twice preposterous, but this Cesar award winning, French box office record setting film practically dares you to not to be swept away by the hilarious hijinks that ensue. So before you make a reference to the infamous French passion for the films of Jerry Lewis or are tempted to relegate this film to the sophomoric sphere, duly note Cluzet’s ability, acting from only the neck up, to counterpoint every wake-up verbal jab and hook Driss throws his way with the most elegant aplomb. Driss is the kind of character who comes along all too rarely. His joie de vivre rubs off on the grim Philippe and Philippe returns the favor by giving a poor tortured soul with a messed up family and no future a chance to get on a right track, however fleeting it may seem at first.
Sure it’s potentially dangerous turf if a film features a black man serving the needs of a white man, whether it’s a comedy or drama, real or imagined (The Intouchables is inspired by a true story). But jumping on The Intouchables as insensitive or exploitative seems tantamount to setting a flamethrower to low-hanging fruit. The screenplay may veer into expediency and silliness but it never crosses into serious areas with disregard for its subject. If its depiction of race seems painted in broad strokes, it’s done so in a carefree, politically incorrect vein reminiscent more of Fred Sanford than any blaxploitation revival. Ultimately, it’s all about craft, and how high this film’s highs get. The Intouchables doesn’t so much provide a false comfort as get you to a warm and fuzzy place despite yourself. To my way of thinking the humor and crowd-pleasing elements here don’t come around very often. Grinch them at your own risk.
8 Wildly Funny If Sentimental Poor-Guy-Gives-the-Rich-Guy-Life-Lessons (out of 10)