Film Review: Yannick, The Sleeper Comedy Hit of the French Summer

   332  
Film Review: Yannick, The Sleeper Comedy Hit of the French Summer
In a summer of three-hour-plus megahits which shall go unnamed (they hardly need the publicity anyway), Yannick, a comedy directed by Quentin Dupieux that’s become a surprise hit in France, clocks in at one hour and seven minutes. It takes place entirely inside a Parisian theater, with just three main characters. In fact, it’s nearly a one-man show since the film is dominated by the eponymous Yannick (brilliantly played by Raphaël Quenard). Yannick has a delicious premise that’s both melodramatic and blackly comic. A trio of actors, Paul (Pio Marmaï), Sophie (Blanche Gardin), and William (Sébastien Chassagne), is starring in a cheesy play about adultery. It sounds like an old-fashioned Boulevard farce, but played for acidly cynical comedy. Yannick, a lone spectator, stands up and berates the actors for putting on a depressing show. (He’d not only paid the price of admission, but commuted from a distant suburb and had to fix things at his job working security at a parking garage). The actors are flummoxed at first, as is the rest of the audience. What starts as a rancorous debate about what the theater owes the public takes a nasty turn when Yannick brandishes a gun and holds both cast and audience hostage. His aim? He’s going to write a play on the spot and show ‘em how it’s done. ‘Yannick’ is a film with only 3 main characters Photo Credit: Chi-Fou-Mi Production/Atelier de Production The movie calls to mind hostage dramas like Dog Day Afternoon, as well as crackpots-in- show-biz movies like Martin Scorsese’s King of Comedy. The first starred Al Pacino, the second Robert de Niro, and Quenard’s performance can reasonably be compared to theirs. He convincingly expresses the usual Everyloon’s outrage, but also an autodidact’s intelligence, and the menace of de Niro in another famous role, that of Travis Bickle in Taxi Driver. But the characterization stays on one overwrought frequency-it would have gotten tiresome if the film had been longer. We actually would have liked it to last a bit longer, if the director had been interested in exploring the character more. As it is, we wonder why Yannick was so irritated at the play. Maybe the subject, about a betrayed husband, cut close to the bone? (We learn that he had a wife or partner at one time.) And why did a working-class guy from the ‘burbs want to come to a Paris theater in the first place, rather than a Marvel extravaganza at the multiplex or a series on Netflix? What the director is able to do, very deftly, in the film’s short duration is to veer off in some unexpected directions. Paul, exuberantly played by the very talented Pio Malmai (En corps, La Fracture), comes to the fore in the middle of the film, after the cast is forced into performing Yannick’s play. He will challenge Yannick’s position as prime zany of the movie, though in his case it seems like the riffing of a veteran actor rather than Quenard’s from-the- gut craziness. (He also appeared in Novembre and Je verrais toujours vos visages). Blanche Gardin as Sophie looks like she could give both of the men a run for their madhouse money (she offers to have sex with Paul if he gets them out of this mess), but the director doesn’t give her enough space to develop. Maybe a question of time again, or perhaps the Dupieux’s lack of interest. It’s too bad, as Ms.Gardin is the one who actually made me laugh rather than give out with a wry grin. (Her background is in stand-up, and she became known through comedy shows on French television, though she’s appeared in nearly two dozen films.) ‘Yannick’ veers off in some unexpected directions. Chi-Fou-Mi Production/Atelier de Production
  • SUBSCRIBE
  • ALREADY SUBSCRIBED?

Lead photo credit : 'Yannick'. Chi-Fou-Mi Production/Atelier de Production

More in cinema, film review, movie

Previous Article Paris Vignettes: Impressionist Inspiration
Next Article Golden Poppy and More: Paris Restaurant Buzz


Dimitri Keramitas was born and raised in Connecticut, USA, and was educated at the University of Hartford, Sorbonne, and the University of London, and holds degrees in literature and law. He has lived in Paris for years, and directs a training company and translation agency. In addition, he has worked as a film critic for both print and on-line publications, including Bonjour Paris and France Today. He is a contributing editor to Movies in American History. In addition he is an award-winning writer of fiction, whose stories have been published in many literary journals. He is the director of the creative writing program at WICE, a Paris-based organization. He is also a director at the Paris Alumni Network, an organization linking together several hundred professionals, and is the editor of its newletter. The father of two children, Dimitri not only enjoys Paris living but returning to the US regularly and traveling in Europe and elsewhere.