macho side, both versions of A moment of madness – Claude Berri 1977, Jean-François Richet 2015 – have their dialogues fart. “When women mingle think is never good” , loose in the opus 1 Jean-Pierre Marielle Victor Lanoux, bickering with Madam party “think” without him the Club Med Agadir. In the opus 2, it is the seller of a large garden area that starts to François Cluzet an adage designed to boost electrical closing sales in Corsica: “The boars is like women, to the full moon, they go crazy. “ The 2015 script elegance move the machismo of the mouth of the main characters to secondary characters, who, before being men or women, are Corsican. Local enjoy …
Both films tell the same story. Two forty-somethings, mates for life to death, went on vacation together and with their daughters: two large teenagers roughly 17 years. One is divorced, the other in “marital break.” And “moment of madness” (or not), the divorced daughter sleeps with another, totally shameful connection … In version Berri, very good movie underestimated, slopes are nicely blurred: it is assumed that part of the male public of the time was to take for granted the archaic way Jean-Pierre Marielle and Victor Lanoux (delectable) consider the gender hierarchy.
The film is also long suspected of beauferie accomplice, until it reveals its true nature: it is not so much the irresistible seduction of young slender body of Agnes Soral who “wanders” guys, but more broadly female desire finally sated that the freely exceeds annihilates them, let them inert. “I’ll make pasta me” , regularly repeated Lanoux, which in the console (big?) Food, while Marielle, first embarrassed, would be well in the long term couples teenager (so School for Wives or Submission ). But she quickly let him plan to go and enjoy elsewhere … Two old roosters overwhelmed by the changing mores, the philandering has changed sides.
At Richet, little ambition (and scope) Sociological . Product as a tribute, by the son of Claude Berri, Thomas Langmann, the film is simple comedy of manners and first vehicle to comedians. Vincent Cassel and replace Marielle and François Cluzet Lanoux respectively. Cluzet again (too) his psycho number that made the glory of the Little White Lies , but Cassel is really good: very free in its phrasing, even in his dialogues, ultranaturel away from the composition a little seer of Mesrine . And then hunk, not being his age (48 years old): in fact, his relationship with the young Lola Le Lann, 19, body nymphet seems less absurd than Marielle Agnès Soral (although was more Marielle young at the time of the shooting …).
There still has major differences: while being more immature (helmets ears and eyes glued to social networks), the two teens are older hair – one is major, the other about to be – which makes the fierce paternal monitoring and debate on bizarre the loss of virginity. And, above all, the “moment of madness” does not recur. Unlike Marielle Cassel renewed refuse the advances of his young partner, which the girl turns too pressing in érotomane clueless. Since she has a very nervous father, the track of the family disruption it would outweigh that of the change in civilization?
Transformed into pure vaudeville (how to hide his best friend that slept with her daughter), the film is slowing gently, never bored. In version 77, the character of the other girl was played by Christine Dejoux, and it was a happiness she played a girl who had all inclusive of male domination, and whose freedom of mind and outspoken often trivial, Marielle left dazed; echoed by Alice Isaaz (discovered in The cream of the cream ), the character is more conventional: the “one shot” his girlfriend with his father just puts pissed against one as against another. A plan saves (and a little film with): sulky, she takes a book, this barbaric object missing 90% of French films with a commercial vocation. This is Journey to the End of the night . “Well? “ request Cassel, less adult than her daughter. The scene is, yes.