between melody and comedy, Franck Dubosc’s pas de deux
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THE OPINION OF THE “WORLD” – WHY NOT
Who does not know the particular signs of the Dubosc phenomenon? Mythomaniac seducer coupled with a tender nerdy: the cast-off sticks to his skin from the stage to the screen, like the underpants of Patrick Chirac, his character in Camping, Fabien Onteniente’s franchise produced by Pathé, which offered the actor his starring role in the cinema. The 5 million spectators of the first (2006), the 4 million of the second (2010) and the 3 million of the third (2016), in spite of the declining slope that they suggest, are dispensers of a great commercial success. As for comic art, that thing so difficult to achieve in a form that is not degraded, that is another matter. Dubosc, we will allow ourselves to think, was never more brilliant and hilarious than alongside Elie Semoun in the mirobolantes Offersif not in their bins.
Two elements slow down the momentum and the credibility of the film
In any case, like Semoun and many other comedians, the actor ended up going to the other side of the camera, without ceasing to be in front of it. His first attempt as a director, in 2018, was entitled Everybody stand up and there he embodied, all shame drunk, for ordinary purposes of frenzied flirting, a false paralytic. The film, of a quite relative quality, had gathered 2.3 million spectators and confirmed the efficiency of the impetuous director. The iron law of show business consisting in striking the iron when it is hot, it is in the ubiquitous position of the actor-director that Dubosc returns to the helm today.
To try with rumba life a more daring bet, not to say more dangerous: melting his congenital screwball character into a melodrama plot and trying to win the double board of laughter and tears. Here’s how he does it. Tony, a school bus driver in the Oise, is a silent loner who missed his American dream. Mustache, marcel, tattoo of the star-spangled banner on his right arm, slicked back hair and pointed boots, he lives somehow the dull triviality of his professional and sentimental life until the day when a heart attack, and the subsequent installation of a few stents suddenly change his existential perspectives. Father of a daughter he abandoned at birth twenty years ago, he finds her in Paris as a ballroom dancing teacher, and, on the valuable advice of his friend and mechanic (Jean-Pierre Darroussin) and a neighbor compassionate teacher who introduced him to Congolese rumba (Marie-Philomène Nga), enrolled in his class incognito to get to know him and make this reunion less brutal.
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