"Moliere," starring French dreamboat Romain Duris as the legendary 17th-century playwright himself, is wonderfully funny and intelligent from first moment to last, all with a light joie de vivre that seems to be part of the French DNA. I have heard grumblings from some critics who say that the film is simply a
recapitulation of one of Moliere's plays. I can't comment on that, as I haven't read any of his work. What I do know is that this film is gorgeous, heart-felt, superbly acted and directed, surprising, witty and overflowing with life. I recommend it to anyone, except maybe to Moliere scholars, who presumably have seen it all before. The plot surrounds Moliere being rescued from debtors' prison by an extravagantly wealthy merchant named Monsieur Jourdain, who is striving to win the heart of a young, beautiful, well-educated Comtesse. Since he is married, this Comtesse would be his mistress. (The tradition of the mistress in France is like nothing we have in America. In France it is almost presumed that a married man would have a mistress -- or more recently, a boyfriend. Vive la France!) Jourdain, who is hilariously played by Fabrice Luchini, is hoping to captivate the ravishing Comtesse by writing a play that will impress her. Moliere is to move into Jourdain's immense chateau and tutor Jourdain without his family knowing. Moliere is to masquerade as a priest come to protect the soul of Jourdain's youngest daughter. Watching the ribald, devilish Moliere attempt to lead prayers was priceless. Complexities emerge when Moliere falls in love with Madame Jourdain and the erotic adventures of Jourdain's older daughter come to light. The local aristocrat also brings his own intrigues. Woven through all of it is the struggle within Moliere himself to trust his talent in all its oddness. When he tells the artistically minded Madame Jourdain that there is no such thing as comedy with philosophical depth, her response is simply and powerfully, "Then invent it." Would that all young artists had a Mme. Jourdain to inspire them. He does come to believe in himself, and nearly 400 years later we're still talking about him. That's pretty damn good. I'm sure anyone who sees this film will enjoy him or herself immensely. But I can't say it's a superior artistic accomplishment. Formally speaking, it's run of the mill. It stays completely within the established conventions of modern mainstream cinema. It doesn't show even the slightest bit of interest in charting new territory, formally or even thematically. It's a delight, but no one would call it artistically audacious. Thus I cannot rank it higher than an 8.
August 5, 2007
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