POTICHE

France, 2010, 103 minutes, Colour.
Catherine Deneuve, Gerard Depardieu, Fabrice Luchini, Karin Viard, Judith Godreche, Jeremie Renner, Sergi Lopez.
Directed by Francois Ozon.


Potiche is the kind of comedy with serious undertones that the French do so well (with some Gallic behaviour, especially in relationships, that other cultures are more reticent about).

Director Francois Ozon has made some serious films in his time (Under the Sand, The Swimming Pool, Time to Leave about a man dying with HIV), but can let his hair down too. He made the upstairs-downstairs musical 8 Women. He is back with his main star of that film, Catherine Deneuve who, almost fifty years after her movie debut, is still headlining her films, making two films a year at least. Plenty of life – and, though more matronly, a striking and beautiful screen presence.

So, that is one reason for seeing Potiche. Another is her co-star, Gerard Depardieu who elicits quite a different vocabulary to describe his appearance but he is still making about three films a year and proving what a commanding presence he has on screen.

And, there is another reason, the not so well-known but very versatile French actor, Fabrice Lucchini, who tends to play the straight man in comedies, with a talent for double takes as well as uncomprehending doubt.

The film is set in 1977 at a time when French industry needed something of a worker’s revolution. Lucchini runs an umbrella factory which his wife Suzanne (Catherine Deneuve) inherited from her father, a man beloved by his workers. Not so Lucchini who presents himself as a picture of Parisian respectability but who is arrogantly dismissive of his workers (but not his personal assistant with whom he is having an affair). He has a son who prefers art to factory work and a daughter who takes after her father in his fascist attitudes but whose marriage is on the rocks.

When the workers abduct the boss, Suzanne confronts Maurice (with whom she has something of a past) and takes over management. With aplomb and success. Her husband finds this intolerable and manoeuvres to have her ousted. Son and daughter have to take sides.

So liberating has the experience been for Suzanne that she decides to stand for political office against Maurice, with her son as campaign manager and her husband’s assistant definitely on her side and working for her.

While the screenplay is quite serious about Suzanne and her new lease of life, her stands against her husband and her confrontations with Maurice, there is also a light touch, moments of froth, and enjoyment of feminist victories – and it all ends with song.

C’est la vie!

1. A French comedy, drama, film of social concern, critique? With the light touch?

2. The director, his work, perspective? The iconic cast and their impact?

3. France 1970-78, social aspects, the world of the wealthy, the world of the workers? Homes and factories, elections? The contrast with the French countryside? The beauty of nature?

4. The musical score, the range of 70s songs, disco…? The final optimistic song, sung by Catherine Deneuve?

5. The range of moods and the development of plot, of characters? Suzanne, at home, Robert and the factory, mores and morals, the industrial situation, opportunities and changes, development, the baring of secrets, new decisions?

6. Suzanne, Catherine Deneuve, symbolic of French women? Robert and his symbolising French men – at least of the time? Comparisons between Robert and Maurice? The retrospective, change, work, conditions and government?

7. The portrait of Suzanne, her age, beauty, status, glamour, comfortable in domestic work, jogging, her delight in nature, the poems, the domestic life, Robert’s treatment of her, her turning a blind eye, nice, yet inner strength, memories of her father and his founding the firm? The strikes and Robert, his collapse, the children’s attitudes, her going to visit Maurice, meeting the workers, forging the agreement, taking over, the three months and the change in conditions, Laurent and his artwork? Joelle and her being part of management? Miss Nadege and her work, Suzanne’s competence and poise? With Maurice at the meals, the club and her provocative visit? The truth about Laurent and his father, her marriage, secrets? Robert’s return, the truth told to Maurice, with Maurice and his reaction, forcing her to hitchhike? The decision to go into politics, the election campaign, Laurent’s work, her success, her outreach? The final song and her optimism?

8. The contrast with Robert, Fabrice Luchini and his comic reactive style? His marrying into Suzanne’s family, his intolerance of the workers, his fascist arguments, arguing with Suzanne, his liaison with Miss Nadege, going to the clubs with clients, the prostitutes, his lies? The children and his relationship with them? The workers, his being taken hostage, the release and his collapse, hospital, recovery? His calling a board meeting, resentment of Suzanne’s work, his takeover? Laurent leaving? Joelle and her deal for her husband? Suzanne wanting to divorce him? At the end, watching her on television with his grandchildren?

9. Maurice, Gerard Depardieu and his status? A 1970s communist? With the workers, going on television, member of parliament, the mayor? His meeting with Suzanne, the flashbacks about their relationship, on the road, the sexual encounter? His helping Suzanne behind the scenes, going out to meals with her? The changes in the factory? Robert and his visit, taunting Maurice, especially about Laurent? Maurice’s hopes about having a son? Suzanne and the truth, putting her out of the car, his own campaign, watching her on television after his loss?

10. Miss Nadege, as secretary, as mistress? Her work for the company, her change of attitude, dismissive of Robert, supporting Suzanne, her taking part in the campaigns?

11. Laurent, his art, his engagement, the issue of his half-sister or not? His personal flamboyance, working in the umbrella factory, designing the colourful umbrellas, the interactions with his father, campaign manager for his mother, his getting support? The irony of the possibility of working with his half-brother?

12. Joelle, her marriage, children, the visit to her mother, her mother as grandmother and Joelle thinking her not strict enough? Separating from her husband, his travels, her going to work for her mother, her report, her fascist attitudes, relocating the factory, the board meeting, the vote, her explanation, to save her marriage, her pregnancy?

13. Andre, representative of the workers, his speeches?

14. Memories in the 21st century of changing conditions, the role of the unions, strikes, improvement and participation?

15. A serious drama with the light touch?