AN AMAZING COUPLE
Directed & Written by: Lucas Belvaux.
Produced by: Patrick Soberman & Diana Elbaum.
Director of Photography: Pierre Milon.
Edited by: Valerie Loiseleux.
Music by: Riccardo del Fra.
Released by: Magnolia.
Country of Origin: Belgium/France. 100 min. Not Rated.
With: Ornella Muti, François Morel, Gilbert Melki & Dominique Blanc.

The second chapter of director's Lucas Belvaux's saga, The Trilogy, continues in this intricately plotted comedy of misunderstandings. Alain (François Morel) sits stunned in his doctor's office after receiving a diagnosis, which he keeps secret from his loved ones and the audience. He soon starts tape-recording his will, terrified that he will drop dead at any second. Because of his appointment, Alain arrives home late. To cover his tracks, he tells his beautiful wife Cécile (Ornella Muti) that he had to drive his secretary home. She knows he is lying since his loyal secretary, Claire, is hiding behind curtains at what is supposed to be his surprise birthday party. And once the party is in full swing, a guest, Agnès (Dominique Blanc), passes out. (What will happen to her later that week is brutally depicted in part one of The Trilogy, the cat-and-mouse thriller On the Run).

To uncover what her husband is hiding, Cécile enlists the help of Agnès's husband, cop Pascal (Gilbert Melki). After Alain finds that someone has been through his desk, discovers Cécile's notations of his comings and goings, and realizes that he is being shadowed by Pascal, he concludes that his wife is plotting against him. His belief is further reinforced when he follows Cécile and sees her embracing Pascal, who, although smitten with her, is only comforting her.

Overall, the tone of this comedy is mean spirited. At one point, Cécile literally pushes the timid Claire down to the ground demanding that she open her husband's office safe. Only occasionally does the humor bite. After having an exceptionally stressful day, teacher Cécile assigns the essay "The nastiest thing I ever did" to her class. But later, a confrontation with her daughter turns into a vicious slap fight. Simply put, it strains to be funny. And Morel's performance is so internal that he lacks vulnerability, acting like an angry Felix Ungar. Although not nearly as successful as the first or third film (After the Life), the fast-paced and unfolding plot will sustain interest. (Those who have seen On The Run will now know why Cécile is angry in her two fleeting appearances in that film.) To enjoy this intriguing series' interwoven story lines fully, and to cure one's curiosity, it is necessary to see all three films. KT
February 4, 2004