The Intouchables: Manly Emotion Done Right

Normally I am not one to clamor with anticipation at the thought of going to see the latest handicapped picture. This may sound cold, but it is simply the truth. I hate when movies tell me how empathetic I need to be. It’s the same reason I can’t stand the Biopic genre. Usually they have a sort of removed plot that goes through the motions, yet they push the viewer to really feel what’s going on. These kinds of movies offer a far too forceful world view for my tastes. But with director Olivier Nakache’s most recent effort, The Intouchables, I was delightfully surprised.

The main story is about the relationship between wealthy quadriplegic Philippe (François Cluzet) and his new thuggish personal attendant Driss (Omar Sy). That’s the key. It’s the relationship that is the story here, not the fact that Philippe is stuck in a chair. And in this movie, it is clear that Philippe is an actual person as opposed to a biological embodiment of his affliction. He is angry and lonely and hates that he has to depend on people, just like any of us would be if we were put in the same situation. And the character of Driss is just as excellent. He arrives to the fancy job interview in casual sportswear. He doesn’t expect to get the job, he just needs someone to sign a paper saying he applied so that he can continue getting welfare. He has problems of his own and so he is impatient and rude—the exact opposite of all the well-dressed wheedling suck-ups who are also applying. In other words, Driss is real.

Philippe says he will sign Driss’ paper if he comes back the following day. When Driss arrives, he is given a tour and put directly to work. It’s a sort of Cinderella story. Driss, who’s broke and homeless, now lives in Philippe’s mansion with his own private suite and a generous weekly paycheck. Driss is wary of the arrangement until he realizes that if he stays, he will have his own master-bath. What follows is a strange series of odd-couple scenarios. The self-sufficient Driss must learn to truly be responsible for someone other than himself, and in so doing, he learns how to open up and depend on others as well.

I get a little misty just remembering it because there are many points in life where we all wall ourselves off in an attempt to save the shreds of what’s left of us. This movie explores the gentle demolition of those types of walls with these two characters who have endured much more than the usual allotment of emotional pain that comes with life.

What’s also refreshing about this movie is that it is far more masculine than you would expect. Soft emotional subjects such as this usually fall into the purview of female-heavy dramas—Steel Magnolias, Terms of Endearment, etc. And while those films are good, they are rife with estrogen. This film’s kind of emotional introspection lets the men be men, and lets these manly men emote. It’s a nice change of pace.

And of course, as the film progresses, the problems of Philippe and Driss slowly reveal themselves and each of the two learn something from each other that would have been impossible had they not entered into their unlikely pairing. I was engaged in the action, I was hoping and fearing for the characters, and surprised and satisfied with the unfolding events and the responding character reactions. I hate to say it but these damn Frenchers really know how to write ‘em. It feel like every French film I’ve seen in the last 5-10 years is simply excellent and without flaws. Is it just the fact that mediocre French films aren’t released into the international market, or have they found the secret to true screenwriting perfection? I’ve got to start drinking Evian or reading Flaubert or something, just in case.

Definitely catch this movie. It’s well-paced, relatable, funny, and emotionally satisfying.