Reflections
on “Untouchable” (2011)
Written
and directed by Olivier Nakache and Eric Toledano
Starring
François Cluzet and Omar Sy
In
memory of my friend, Alfie
The opening scene encapsulates
the film’s dynamic and provides insight into the character and relationship of
the principal characters, plus their interaction with society.
Two men are driving in an
atmosphere of melancholy, even depression. Passenger Philippe is in low spirits
and driver Driss is concerned as they drive aimlessly through the Parisian
night, following the constraints of traffic and the highway code. They are dully
going nowhere and this reflects Philippe’s frame of mind and, as we shall
discover, his physical limitations. Suddenly, Driss breaks free from the
traffic and powers away, breaking speed limits and several other laws at the
same time, but supplying a sense of exhilaration, defiance and a taste of life.
Naturally, the police become involved very rapidly but Philippe (who is quadriplegic)
and Driss act together to manipulate the figures of authority so they gain
their sympathy and pity, thus not only avoiding punishment but gaining an
escort to a nearby hospital in the process. Philippe and Driss take great
satisfaction in this result as, together, they have managed to profit by
Philippe’s disabilities and limitations to outwit the system and society which
have conspired to write him off due to his condition, while seizing a few
moments’ escape from Philippe’s highly restricted existence.
Philippe is a very
wealthy quadriplegic who belongs to the economic and social elite. It appears
that he was so accustomed to what he regarded as life-numbing security that he
took risks to furnish thrills and excitement and so, as he went ever higher and
faster, he eventually took a risk too far and lost feeling below the neck as a
result. He also lost his beloved wife to illness. In such circumstances it
would be easy to slip into negativity and depression but, recognising the essential
value of life, Philippe has focused on cerebral or intellectual pursuits such
as art and music in his physically diminished life. Surrounded by a helpful and
devoted staff, he makes the best of things, though spiritually he may be doing
less well as his somewhat restricted daily life appears rather clinical,
uninspired and lacklustre.
In contrast, Driss and
his family lead a somewhat crowded chaotic hand to mouth existence, and may be
struggling both economically and emotionally. Driss is physical, spontaneous,
open, friendly, shows common sense and has principles, though we discover he
has a prison record (due, we imagine, to desperation to provide for his
family). He displays a caring attitude toward his sister and his mother, and he
is highly protective of his younger brother who is leaning toward joining a
gang. He also displays a natural effusiveness and dynamism which, combined with
his openness and frankness, could easily lead to conflict or discord.
When he presents himself
for interview as Philippe’s personal assistant, Driss is entirely open about
the fact he is required to apply for a number of jobs in order to qualify for financial
assistance from the state, and so all he needs from Philippe is a signature to
indicate he has gone through the motions of interviewing him. Driss makes no
attempt to ingratiate himself, shows no real consideration or understanding of
Philippe’s situation and responds to questions without guile or hope of gaining
the position, yet they engage in some banter and, despite being a less than
obvious choice, Philippe offers Driss the job on a trial basis - exactly
because Driss displayed spontaneity, frankness and a willingness to challenge
the perceptions and attitudes with which Philippe is surrounded. In other
words, he offered a spark of life and energy in what had become a dull and
repetitive undertaking.
For Driss, this position
offers stability, independence and security as well as a fruitful, insightful
and highly amusing introduction to modern art, classical music and opera. Driss
continues to share his incisive and challenging observations on Philippe’s
cultural pursuits, offering down-to-earth alternatives to Philippe’s abstract
and artistic interpretations, and a mighty slice of amusement and energy in the
process. He approaches his physical care of Philippe with the same openness,
innocence and spontaneity, potentially causing Philippe considerable injury but
at the same time injecting the process with life and energy, but also, most
importantly, without pity. Driss treats Philippe as an equal – he does not
affect compassion, tolerance or sympathy, and Philippe greatly appreciates this
quality. He is treated like a man and consequently he finds Driss’s company
stimulating and enjoyable.
Their status of
companionship evolves when Philippe struggles one night and is clearly pained
both physically and spiritually. Driss responds instinctively, asking what he
can do to help. The relationship they have built so far allows Philippe to
confide he needs air, or simply to get out. Driss then seizes Philippe and
takes him out in Paris in the middle of the night. They hold a relaxed and open
conversation in which they share events of the past and emotional responses, a
discussion which forms the basis of their future relationship. This is no
longer an employer-employee relationship. Personal interest, sharing and
emotional commitment raise their relationship to the status of friendship.
And so, they help one
another. Philippe gains physically, spiritually and emotionally. Apart from
movement, Philippe gains experience of different types of music, is immersed in
humour-laden discussion of art and learns to assert himself as a father when he
disciplines his haughty adopted daughter. But most importantly, he regains a
sense of hope, purpose and appreciation which had been slipping away from his
existence.
Driss experiments with
modern art, is exposed to culture, learns some self-discipline and to conduct
himself with greater finesse, while retaining common sense and principle. This
is amusingly demonstrated in the contrasting ways in which he deals with drivers
who have parked in the entrance to Philippe’s driveway. More importantly, Driss
derives a sense of purpose and self-respect from their association, and hones
his quick wit and charm to reflect a more cultured and reflective approach or
outlook.
However, family
obligations and duties, readily acknowledged by Philippe, mean that eventually
Driss and Philippe must part company. Driss has evolved and moves ahead with
his life, applying for jobs with new-found confidence and poise. However, having
developed a reinvigorated outlook on life, Philippe is dreadfully disappointed
and misses the friendship and emotional engagement he has come to value so much.
It is at this point that his friend returns briefly, but only to transport him,
unknowingly, toward hope, positivity and the next emotional stage in his life,
for which, in a sense, his friendship with Driss paved the way.
The film’s huge surprise
success is due in no short measure to the sharp script which balances sympathy,
humour and emotional engagement, and the crisp, involving direction, both the
responsibility of Olivier Nakache and Eric Toledano. However, the natural,
touching, amusing and thought-provoking performances by François Cluzet and
Omar Sy transport the material to another plain.
Although the film touches
briefly on themes such as integration and understanding of the handicapped,
family, discipline, seizing the moment and savouring life, whatever it may
bring, this is undoubtedly above all else an uplifting hymn to friendship and
the mutual benefits emotional engagement can bring, even in the most surprising
and doubtful of circumstances.
My thanks for taking the
time to read this article. I hope you found it of some value.
Stuart Fernie
I can be contacted at stuartfernie@yahoo.co.uk .
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