LE PRENOM/ WHAT’S IN A NAME.

France, 2012, 109 minutes, Colour.
Patrick Bruel, Charles Berling, Valerie Benguigui, Guillaume de Tonquedoc, Judith El Zein.
Directed by Alexandre de la Patelliere, Matthieu Delaporte.

It’s best not to take the light touch too seriously at the beginning of this film as an indication that this will be another frothy French tale of friends gathering for a meal and reminiscing about their lives with each other since they were children. The froth soon dissipates and we are drawn into reminiscences that lead to recriminations, old stories that reveal resentments, and some present shocks. As we move into the conversation, drawn into it by the intensity, we will be amazed at the deep feelings on display but, perhaps, not really surprised that under the surface are hurts that need to be aired – and healed.

We are taken on an amusing ride through the streets of Paris as the film opens, but the pizza deliverer goes to the wrong door and needs to move on. We stay at the mistaken door and find ourselves at preparations for a dinner, Maroccan style. The home couple are hosts, he a university professor, she a local teacher. Visitors are her brother and his wife and long-time friend who plays the trombone.

The brother and his wife are expecting – and they ask what the child’s name will be. They guess and guess, he giving the letter A. When he reveals the choice, the gathering freezes over and, as it thaws, it really heats up, each character taking the advantage of venting their spleen on each other. The screenplay is very well written, strong stories and memories being given quite eloquent voice, with some malicious invective. A lot of narcissism in the room, a lot of pettiness, a lot of wounds, a lot of bitterness. A bit of truth or dare with some important emotional and rational (and irrational) consequences.

The film is based on a play and most of the action takes place in the dining room and kitchen of the house, but it does not make the audience feel confined. There are some flashbacks to open things out a little. These are effective in introducing each of the characters, showing them in their work situations. Later in the film, they are just imagination sequences (false as it turns out) and others which are just illustrating the words.

The initial credits list everyone only with their prenom! The final credits do have family names, but also with a baby or child photo of each of the cast and crew.

A stronger drama than we might have expected.

1. The title? Joke? The consequences? The name at the end?

2. A French film, tone, style, characters and emotions? Verbal dexterity?

3. The prologue, the ride, the voiceover, the sardonic tone, the names of the streets, the pessimism about the individuals and their careers, the visuals to illustrate this, the pizza rider, Pierre’s reaction at the door, Bubu’s we action? His going to the wrong door?

4. The way of introduction to each character: Pierre, his lectures, students, wit, the different colours of coats, in Russia? Bubu, at school, her clothes, standing in the corridor, discipline, the meeting, supporting losers? Claude, playing his trombone, the different ways he exercised his sensitivity, his clothes? Vincent, champion at golf, tennis, his mansion, work as an agent? Anna, the cars, the crash, love at first sight?

5. The convention of the dinner party, Bubu and her cooking, the Moroccan meal, the phone call from her mother, the visuals of her mother, her mother talking and talking? The raisins and the later reference to them in phone calls? Pierre and his searching for things? Children, their names, showing them, the sophistication of the daughter observing Madame Bovary as neurasthenic? Vincent’s arrival? His taking over? Anna and her being late? Working with Koreans?

6. The past history of the group, Francoise and Henri? Loving parents, their treatment of the children? The favouritism towards Vincent? Claude as a young boy, becoming part of the family? Pierre and the friendship of the three boys? Bubu as the sister to them all? The long history of bonds between them?

7. The baby, the scan, Vincent telling them to guess the name, beginning with an A, the guessing, Bubu and the kitchen, the name Adolphe, the negative reactions, disbelief, the reference to the novel and the hero, the book that he and Anna were reading when they met? Adolf and Hitler? Defending the name? Pierre and his virulent anger?

8. Vincent admitting that it was a joke, the variety of reactions, Anna not knowing, her references to the name and to Henri? Anger at the table?

9. The dramatics of the interactions, the arguments about the name, about Vincent and his pouting, the imitations, the laughing? The transition to Pierre and his meanness? Bubu defending him? The criticism of Anna, and her being upset that everybody knew the name of her partner and the clients except Vincent? Turning the tables on Claude, his laughing at the others, his nickname of Plum, taking for granted that he was homosexual, the examples, defending himself, his being challenged about relationships, his not wanting to tell the truth, Anna knowing the truth, his finally admitting it, Francoise? The visuals of his relationship and memories of the past, going to Canada, the return, Francoise welcoming him? Vincent and his reaction, disgust? Bubu and her shock, that she confided all her secrets to Claude?

10. The different focuses of tension, the narcissism of Vincent, Pierre and his rivalry with Vincent, the death of the dog and Vincent’s claim, his being inferior to Vincent?

11. Vincent and his hitting Claude, children being disturbed, the violence and its effect? The occasion for Bubu to talk, her attack on Anna, her snobbery, not having much to talk about with her? Her bitterness with Pierre, her life, not able to study, not going to conferences, Pierre ashamed of her, fat, her children, Pierre playing with them for 15 minutes each night and exciting them and she having to put them to bed…? His look of bewilderment?

12. The catharsis for each of them to attack the other, vent anger, the resentments, the bitterness for many years?

13. The birth, everybody at hospital, a little girl, the joke about the name, Plum, calling the little girl Francoise? Everybody happy?

14. An intense game of truth or dare and its consequences?