Reviews of Recent Independent, Foreign, & Documentary Films in Theaters and DVD/Home Video
AN AMAZING COUPLE
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
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