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Intouchables—Omay Sy Shines in this Fish Out of Water Story

Sometimes you have to reach into someone else’s world to find out what’s missing in your own.

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Intouchables 2011 film review

Intouchables is exactly the sort of film that will leave a smile on your face…

Fish out of water comedies seem to win a great many filmgoers each and every time a new one is released. The same may be argued about comedies that share the tales of bonding friendships between two individuals (or more, whatever the case may be) who, under any circumstances other than those dictated by the story, would never have found common ground. After all, everybody has a comfort zone, be it related to one’s profession, one’s social life, where one lives, etc. Creating bonds with people one hardly knows or with whom one believes to have nothing in common is difficult, hence the important addition of comedy into a movie to make the journey more palatable. As the saying goes, laughter is the best medicine, something the directing duo formed by Olivier Nakache and Éric Toledano take to heart in Intouchables.

A rich aristocrat named Philippe has his life spun around following a paragliding accident which leaves him in a quadriplegic state. His severe handicap means that he must rely on the daily, continuous assistance of others to accomplish the most seemingly trivial tasks, such as showering and even going to the bathroom. For that reason, he has a series of interviews, coordinated by his assistant Magalie (Audrey Fleurot), with a number of individuals from the health care sector in order to find the one candidate who will help ease his life just a little bit more. As happenstance would have it, one of those interviewees is one Driss (Omar Sy) a young adult from the Parisian projects, recently released from prison for some petty crimes, who was sent over to have an interview by a guidance counselor. Driss thinks nothing of the interview, proving to be brash, cocky, and totally uninterested in Philippe’s plight. For reasons that only Philippe himself understands, it is Drisswho, from among all the candidates, Philippe is most interested in. The young man’s lack of pity is precisely what he wants in his helper. Thus begins an unlikely pairing, one which will bring together two people who were worlds apart closer than they ever could have imagined possible.

They (Nakache and Toledano) understand where exactly the strengths of the film lie, which encourages them to utilize said advantages to the fullest degree, with absolutely no let-up.

Directors Nakache and Toledano just might have concocted one of the better films of this genre in recent memory. Sure enough, most comedies of this ilk find success in some fashion or another, whether at the box office, critically, or during their second lives on home video, but with so many to choose from, pinpointing those which genuinely stand out among the crowd is a delicate matter. The ingredients must be familiar for the audience to easily settle themselves into the picture, all the while providing enough fresh jokes and noteworthy characters, particularly among the two leads, for the film to produce any sort of lasting impact. It is with the second and third of these criteria where a movie like Intouchables doesn’t succumb to the pitfall of being yet another ‘run of the mill’ buddy comedy, instead, it is something special that people still talk about years later. Nakache and Toledano prove to be quite wise in how they approach the material, indeed playing on familiar ground but, contrary to what many other directors and writers might have done, they understand where exactly the strengths of the film lie, which encourages them to utilize said advantages to the fullest degree, with absolutely no let-up.

Unsurprisingly, a film like Intouchables requires some early scenes in which the two protagonists meet and get acquainted, albeit with some definite friction that keeps them apart for a short while longer. Subsequently, the character whom the audience at first believes to be the sillier, simpler or less refined of the two, in this case, Driss, must go through a learning process in order to adapt himself to his new surroundings and human connections. While Intouchables does not entirely eschew these episodes, it does get to the point reasonably quickly, allowing the vast majority of the story to concentrate fully on the blossoming friendship between Driss and Philippe. The story would in fact appear somewhat incomplete without the learning curve, but on the other hand, it is not a requirement to invest too much running time dwelling on the subject. Sooner rather than later Driss and Philippe are getting along rather well and bonding.

Some of it (comedy) is indeed too facile, such jokes about their preferred musical interests…but overall the dialogue exchanges hit a lot of strong notes.

Yet another strength is in what the directors choose to do with these two interesting characters the rest of the way. The fear heading into Intouchables was that it would provide the audience with a series of ups and downs, each of the low points putting the protagonists’ new friendship to the test, only for it to be renewed and strengthened afterward. There is a hint that such occurrences may transpire when Philippe’s lawyer pays him a short visit, expressing some reservations about his client’s choice of a helper. This potentiality is quickly abandoned in favour of exploring where the commonalities between Driss and Philippe exist, where their common interests lie, and, more than anything else, how sometimes their differences in fact bring them closer together. The film will occasionally make reference to Philippe snotty teenage daughter who looks down on Driss with disdain, while during other sequences attempt callbacks to Driss’ difficult background and the neighbourhood where he lived, and it is safe to assume that such narrative strategies are a requirement in order to remind the audience that each of the characters has his own baggage to worry about, as is so often the case in a movie like this, but in this regard as well the directors only appear mildly concerned which such matters, and, once again, the movie benefits from its sharp focus.

What really helps sell Intouchables is its reliance on comedy. Granted, there are a few sequences that adds some layers of drama to the proceedings, lending the picture with a little bit of heavier gravitas, but they are very far and few between. The character relationships form organically and with the help of a lot of funny material. Some of it is indeed too facile, such as jokes about their preferred musical interests (hip hop and dance versus classical orchestral, obviously), but overall the dialogue exchanges hit a lot of strong notes. So far as this aspect of the picture is concerned, actor Omar Sy is without question the true star of the show. Outspoken, confident, and quite caring once he understands the gravity of Philippe’s circumstances, the character of Driss requires solid screen presence, of which Sy has in abundance. The actor can pull off just about any type of line to earn a laugh from the crowd, be it something a bit more on the crass side of things or terribly witty. François Cluzet is also provided some good lines but understandably plays second fiddle to Sy’s energetic representation of Omar (both individuals are based on real-life people). In essence, even though each offers performances that are quite far apart from one another in tone and style, the actors craft their respective characters with great care, which in turn helps the viewers themselves care all the more.

There really is no other to put than stating that Intouchables should leave a big smile on most people’s faces as the credits roll. The directors, probably aware that they treading familiar territory, even make deliberate attempts to concentrate on the essentials and all the advantages they possess (two incredibly charming leads and a funny script) and run off with just that. Even the ending feels just right, concluding this chapter of their lives on a very sweet note and leaving the window open for the audience to imagine what other little stories Omar and Philippe might have…and not necessarily a sequel.

-Edgar Chaput

A native of Montréal, Québec, Edgar has been writing about film since 2008. At first relegated to a personal blog back when those things were all the rage, he eventually became a Sound on Sight staff member in late 2011, a site managed by non-other than Ricky D himself. Theatrical reviews, festival coverage, film noir and martial arts flicks columns, he even co-hosted a podcast for a couple of years from 2012 to 2014 with Ricky and Simon Howell. His true cinematic love however, his unshakable obsession, is the 007 franchise. In late 2017, together with another 00 agent stationed in Montreal, he helped create The James Bond Complex podcast (alas, not part of the Goombastomp network) in which they discuss the James Bond phenomenon, from Fleming to the films and everything in between. After all, nobody does it better.

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The Living Daylights Has a lot of fun within the Bond formula

James Bond is sent to investigate a KGB policy to kill all enemy spies and uncovers an arms deal that potentially has major global ramifications.

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The Living Daylights film review

James Bond Spotlight

It wasn’t guaranteed that the Daniel Craig films would successfully reboot James Bond, in part because such a restart had already been tried before. After 1985’s A View To a Kill, in which age had begun to show on both Roger Moore as Bond and Lois Maxwell as Miss Moneypenny, the first real reboot was attempted. Timothy Dalton – who had turned down On Her Majesty’s Secret Service because he felt that at 24 he was too young to replace Sean Connery – was brought on and a script was commissioned to return Bond to his Cold War roots. The result was The Living Daylights, which doesn’t quite work as a reboot but makes for deeply enjoyable viewing.

Too many of the old Bond conventions remained for The Living Daylights to be a true departure; the roles of M and Q were not re-cast and the same notes are hit with both of them. In the same pattern that goes as far back as Goldfinger, an action-packed cold open leads into sexytime for Bond, followed by the elaborate credits sequence. But the overall story, in which a defecting Russian general (the great Dutch actor Jeroen Krabbe) plays the British for fools and Bond must track him down through his mistress (Olivia d’Abo), is a welcome departure from Roger Moore’s cartoonish adventures in America.

The antagonistic presence of the Soviet Union gave From Russia With Love its classic urgency and it made The Spy Who Loved Me the best of the Moore films, thus it does wonders for Dalton. Although the “car into ski-car into using a cello case as snowmobile” chase scene is as silly as anything Moore did, the stakes in the Dalton film are more honest. It still does not make sense why the MI-6 would care about a drug dealer in New Orleans (as in Live and Let Die), but helping a beautiful Czech cellist defect from behind the Iron Curtain is exactly what James Bond should be doing, no matter how cartoonish his methods might be. Having reasonable goals for Bond allows audiences to tolerate much more silliness.

The Living Daylights James Bond 007 Review
Images via United Artists

But even most of the “silliness” in this film is deadly serious. The film’s best fight scene is one that could have been a throw-away, between a secondary Russian villain and a supporting British agent who’s never named, yet it carries all of the intensity of the famous fight in From Russia With Love. The big action set-piece takes place in Afghanistan, where Bond allies with the mujahideen not because he thinks theirs is a comically righteous crusade against evil (as would happen a year later in Rambo III) but because it’s the most practical way for the bad guys to get got. This is the perfect setting for Bond: one where the action sequences may occasionally get ridiculous, but the characters at least intend to live in a complicated world.

It’s interesting that, unlike almost every other Bond film before or since, there’s only one “Bond girl” in The Living Daylights. Despite the apparent monogamy, Bond’s attitude toward women did not reboot with the switch to Dalton; d’Abo is essentially a prop and proves especially useless during the Afghanistan sequence. Still, her character is not saddled with an embarrassing name and seems to have her own motivations independent of Bond’s, which is more than can be said for Tanya Roberts, Jane Seymour, or Denise Richards.

In some scenes, Dalton’s frustration with d’Abo seems to border on anger, but that’s not so bad because Dalton found the perfect note for Bond. Bond ought not to hate the audience or the female lead, but neither should he particularly care what they think of him. For Bond, there should be only allies, enemies, and the light glaze of contempt that he spreads over the remainder of the world. Connery had it and Craig has it, but George Lazenby seemed a little too happy just to be there while Moore and Pierce Brosnan had their tongues too firmly in cheek. Dalton found that perfect sweet spot of light contempt, and it’s no wonder that after The Living Daylights’ strong financial performance, Connery had a number of positive things to say about him.

Sadly, Dalton would lose the thread with the very next film, License to Kill, in which his contempt seemed to drench every line of the screenplay as well as a number of talented actors including a young Benicio del Toro. Perhaps it was Dalton’s fault, or perhaps it was simply because the Berlin Wall was falling and new world order was being shaped. Dalton’s Bond was no longer needed, but neither should he be forgotten: in the same way that Connery defined the Cold War of the 1960s for any number of moviegoers, no movie transforms the Cold War of the 1980s into a pop-culture artifact better than The Living Daylights.

– Mark Young

Editor’s Note: This article was originally published under our old brand, Sound On Sight. The article is part of our James Bond Spotlight.

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Moonraker Completely Misses its Mark

James Bond investigates the mid-air theft of a space shuttle, and discovers a plot to commit global genocide.

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Moonraker review

James Bond Spotlight

Moonraker has the unique distinction of being the most absurd and over-the-top Bond film produced in 50 plus years of the series. Spy films exist in a genre unto themselves, but the Bond films sometimes like to crossover into other popular genres as well. The first clear example of this was 1973’s Live and Let Die, which mimicked the then-popular Blaxploitation genre. When Moonraker was released, however, the Bond series took this genre crossover to its extreme, resulting in a Bond film as much a science fiction saga as it is screwball comedy. Certainly one of the strangest Bond films to date, Moonraker holds a unique admiration among Bond fans and remained the highest-grossing of all the Bond films until the release of Goldeneye in 1995.

Before Moonraker came 1977’s The Spy Who Loved Me which concluded with the end credit; “James Bond will return in For Your Eyes Only.” Then came the exuberant popularity (and profits) of Star Wars, also released in 1977. Star Wars’ popularity led to a barrage of memorable rip-offs from Luigi Cozzi’s Starcrash to Jimmy Murakami’s Battle Beyond the Stars. Bond producers also took note, changing their planned release schedule to push Moonraker ahead of For Your Eyes Only in order to capitalize on a then exploding interest in sci-fi epics. The third act of Moonraker is set entirely in space, complete with laser battles, keypads set to the theme of Close Encounters of the Third Kind, and a 2001: A Space Odyssey-inspired rotating space station. Adding to Moonraker’s space cred was the growing fascination with a then-developed space shuttle that NASA was preparing to launch only a few years later. Producers made the choice to use the SRS Space Shuttle model in the film to play directly into a worldwide fascination in next-generation practical spaceflight.

The ambition is apparent in the visuals, but where Moonraker fails is in its execution of story. Tightly packed with all of the elements of a Bond film, without regard for their cohesion, this often overwrought story too heavily relies on bizarre moments that come across more Mel Brooks than James Bond. Moonraker is structured around the same basic Bond outline the series tends to follow; Bond visiting a number of very exotic locales in search of clues leading to whatever villainous mastermind happens to be plotting world domination. In Moonraker, that super-villain is Hugo Drax (Michael Lonsdale), a space industrialist with plans of creating a new master race. All of the locations Bond’s investigation of Drax leads to are a bit too obvious. In their pursuit of grand set-pieces, producers seemed to overlook subtly for scale. Perhaps the worst moment in the film comes during a boat chase down the canals of Venice. Bond’s motorized gondola transforms into a terribly executed hovercraft that proceeds to drive across St. Mark’s Square in a scene derivative of bad slapstick. Campy scenes like this, as well as scenes with the return of giant henchman Jaws (Richard Kiel) instantly take viewers out of the story. A subplot in which Jaws falls in love with a short, pigtailed beauty, shedding his bad ways for good, plays just plain silly in a film that over-utilizes comedic cause where it should have focused on dramatic effect.

Moonraker James Bond 007 film review
Images: United Artists

Roger Moore isn’t known for being the best of the Bonds, and here he seems to go out of his way to prove why. Where Connery sold Bond as sexy and smooth, Moore’s performance comes across as forced and rigid.  An awkward fighting style and over-obvious one-liners don’t help his case. Moonraker also has the distinction of having perhaps the most overblown (seriously no pun was intended), straight-to-the-point names for a Bond girl in all the films; Dr. Holly Goodhead (Lois Chiles).

Where Moonraker does succeed is in the exquisitely crafted set pieces by production designer Ken Adams. Adams sets, including a portable lab in a Venetian glass factory, a geometric space command center in hollowed Amazonian ruins and the space station itself, with its winding corridors of glass tubes, are all standout designs that succeed more than the films actors at creating the foreboding moods beneath the surface of the story. The greatest of all Adams designs is a conference room that folds in on itself, disappearing into the floor. Set beneath the thrusters of a space shuttle, the room is indicative of the famous war room in Kubrick’s Dr. Strangelove, another set designed by Adams.

At its conclusion, Moonraker is only a mildly amusing entry into the Bond canon. Perhaps Moonraker’s greatest flaw is its reliance on perpetuating the characteristics of the series without setting itself apart. Moonraker is a movie produced to be visually appealing above all else. Maybe it’s because the script was rushed to come out ahead of the already planned For Your Eyes Only. Whatever the case, the double entendres Bond fans have come to love fall flat to shtick in this installment of the franchise. Moonraker completely misses its mark, catering more to a generation captivated by Star Wars than the generation that grew up with Bond since 1962. Money wins again.

-Tony Nunes

Editor’s Note: This article was originally published under our old brand, Sound On Sight. The article is part of our James Bond Spotlight.

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The Man with the Golden Gun is a Curiosity Amongst Bond Fans

James Bond is targeted by the world’s most expensive assassin, while he attempts to recover sensitive solar cell technology that is being sold to the highest bidder.

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The Man With The Golden Gun James Bond review

James Bond Spotlight

One hallmark of the venerable Bond franchise is its willingness to change with the times. Sometimes the changes feel organic, like the shift to a more brutish Daniel Craig after international terrorism took center stage in the early 2000s. Other times, however, you can smell Bond’s desperation to stay relevant. Such is the case with 1974’s middling entry, The Man with the Golden Gun.

Guy Hamilton’s fourth turn as Bond director (GoldfingerDiamonds Are ForeverLive and Let Die) is a study in uncertainty. As Bond, Roger Moore is still searching for the debonair persona he would find in the upcoming classic, The Spy Who Loved Me. Surrounding Moore’s tentative performance are a collection of unfocused action set pieces, a less-than-formidable duo of Bond girls, and the most repugnant character in the series’ history. Add an ill-conceived leap onto the kung-fu bandwagon and you’ve got a recipe that would have poisoned a lesser franchise.

That’s not to say that The Man with the Golden Gun (TMWTGG) is without merit. First, the story is refreshingly simple. Bond must find and eliminate the world’s most deadly assassin, Francisco Scaramanga (Christopher Lee), who intends to blackmail the energy-starved West with a mysterious solar energy device (an iconic MacGuffin called the “Solex agitator”). As the dapper assassin Scaramanga—who collects $1 million for every hit with his little golden gun—Lee oozes a slimy charm that is a welcome addition to the franchise. Perhaps more than any arch villain before him, Scaramanga feels like a regular man who can relate to Bond. He may have grandiose designs on environmental extortion, but he’s mainly just a thug who excels at killing people. Sound familiar?

Scaramanga is introduced by a snappy pre-title sequence, as well. With the help of his diminutive henchman, Nick Nack (Hervé Villechaize), Scaramanga lures a hapless hitman into his nightmarish funhouse full of traps. Not only is this a clever illustration of Scaramanga’s killing prowess, it foreshadows the film’s ultimate showdown with Bond. It also establishes one of the most interesting villain-henchman dynamics in the history of the franchise. “If you kill him, all this be mine!” Nick Nack implores Bond; his loyalties split between protecting his master and feeding his own ambitions. It’s an extra layer of texture we don’t normally see from Bond henchmen.

The Man with the Golden Gun review
Images: United Artists

The impressive shooting locales are spotted all over the Far East, including Thailand, Hong Kong, and Macau. Hamilton does a great job capturing the humidity and flare, keeping Bond in the streets and local establishments as often as possible. It also yields the film’s most ingenious set-piece; the wreck of the RMS Queen Elizabeth in Hong Kong harbor. The derelict ocean liner is cleverly transformed into the Far East headquarters for MI6. Another highlight is Bond’s low-altitude flight through the jagged rock formations in Hạ Long Bay. These geographical flourishes have become a staple of Bond films.

Sadly, that’s where the praise for The Man With The Golden Gun ends.

Even the normally-reliable John Barry, who penned the franchise’s most iconic themes and songs, falls prey to mediocrity. Though the title tune is undeniably catchy, Don Black’s insipid lyrics do little to help Scottish crooner, Lulu, who does her best Shirley Bassey imitation. This is definitely Barry’s weakest effort with the franchise.

It’s also the worst script penned by long-time Bond scribe, Richard Maibaum. Working from an early draft by Tom Mankiewicz and the original novel by Ian Fleming, Maibaum pruned most of the gamesmanship between Bond and Scaramanga. Instead of a battle between equals, Scaramanga feels more like a jealous half-brother with an axe to grind. It’s a missed opportunity for Bond to match wits and marksmanship with a superior adversary.

More glaring is Hamilton’s listless approach to the action sequences, including his continued obsession with excruciating car chases. Bond pursues Scaramanga through the streets of Bangkok before reaching a bifurcated bridge. In the film’s most iconic stunt, Bond executes a perfect corkscrew jump to traverse the broken and twisted bridge (bafflingly accompanied by the sound of a slide whistle). Making the chase even more intolerable is a curtain call from the racist Sheriff J.W. Pepper (Clifton James). As if Pepper wasn’t loathsome enough in Live and Let Die, he turns up to insult Asian citizens in their own country. Truly, this reprehensible character is emblematic of a time most Americans would rather forget.

Man With the Golden Gun review
Image: United Artists

Despite looking stellar in a bikini, Britt Ekland’s turn as Agent Goodnight is thoroughly forgettable. She’s completely useless as a field agent and barely registers a blip on the charisma radar. Her low point arrives in the final act when she accidentally activates a death ray with her ass. Faring even worse is Maud Adams as Scaramanga’s mistress, Andrea Anders. Bullied and subjugated by Scaramanga, Anders comes crawling to Bond, who promptly slaps and manhandles her. Anders looks less like a damsel in distress than a helpless victim of domestic abuse. Surely, Roger Moore must look back on this scene—obviously devised to toughen his image—with embarrassment and regret.

And let us not even discuss Bond’s brief detention at a kung-fu school. That he is rescued by two teenage girls is an unmitigated disgrace masquerading as a punchline.

What makes The Man with the Golden Gun particularly frustrating, especially when compared to similar missteps like A View to A Kill or Die Another Day, is how little fun everyone seems to be having. The humor isn’t zany enough to inject any camp, and the story (particularly Scaramanga’s reduced role) is too thin to be taken seriously. It’s stuck in the middle of what Bond used to be with Connery, and would eventually become with Moore. That it survived this transition is a credit to Moore’s natural charm and producer Cubby Broccoli’s determination. In that way, The Man with the Golden Gun is a curiosity amongst Bond fans; it’s hard to muster either enthusiasm or disdain for it. Perhaps, in the grander scheme, it’s the movie Moore had to make before he truly became James Bond.

J.R. Kinnard

Editor’s Note: This article was originally published under our old brand, Sound On Sight. The article is part of our James Bond Spotlight.

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