Festa Mobile/Europop screening - review - CYCLING WITH MOLIÉRE by Philippe la Guay

Le Guay takes on Moliére. No, this is not an adaptation of one of the works by one of the most celebrated figures in French literature – at least not a textbook one.

This is the story of a TV superstar Gauthier (Lambert Wilson) who tries to convince his former actor friend Serge (Fabrice Luchini) out of retirement by offering him a part in his upcoming stage production of The Misanthropes. Though he initially seems unwilling to become part of it and let go of his life of self-imposed isolation and alienation to the outside world, he is intrigued by the idea of playing the cynic lead character of Alceste, so he agrees to at least sit down for a few rehearsals.

The catch is that both men want to play the part and in two radically different way. It is also interesting to see in Cycling with Moliére, the way in which The Misanthropes naturally seems to gradually become more representative of their own lives than initially thought. This influence shows prominently in their occasional stints with the outside world and their relationship with other people – particularly an Italian woman that becomes the sought after object of desire of Serge but who inevitably comes this intriguing mysterious object in the friendship and the mutual respect between the two actors and their egos.

Le Guay’s film looks on the outside very much like a chamber comedy piece, and in fact its technical simplicity, countryside setting and light witted humour would forgive such a reading. These elements are also part of the film’s charm. Yet, the intelligence of the screenplay and the high quality of the acting that really heightens the quality of the film.

The screenplay, in fact works on numerous levels and is always respectful and indeed creative with the references of The Misanthropes, which almost becomes a parallel storyline or at least an exact metaphor of the character’s predicaments, trials and tribulations.

Furthermore, a film about acting and actors obviously had to have some top notch performances. The exchanges between Wilson and Luchini are an absolute treat, whether they are playing their parts or not. Wilson has this natural charm about him that is entrancing while Luchini’s imposing presence perhaps reveals a personal connection with The Misanthropes that makes his performance seem particularly powerful and heartfelt.

It’s hard to find faults in a film that is so tasteful and clever. Perhaps the films suffers from the occasional moments of dullness and a side plot involving a trivial character of a young porn actress that doesn’t really go anywhere. But then again, everything kind of fits and makes for a refreshing type of humorous comedy that really plays on egos, pride, sensibilities and human vulnerabilities.

On top of that, despite of the many references to the classic of French theatre and literature, one need not be familiar with The Misanthropes to enjoy the film, so this lack of snobbery is greatly appreciated and makes the film more accessible. In other words, it’s almost impossible to fall for this film’s charm and not admire its astuteness in inventing a somewhat original contemporary adaptation (in the loose sense of the term) without feeling artificial or forced.