review: Michou d'Auber PDF Print E-mail
Written by Boyd van Hoeij   
Thursday, 05 April 2007
Michou d'Auber film reviewFor viewers interested in the Franco-Algerian question but put off by the intellectual puzzle that was Michael Haneke’s Caché or the simplistic indignity of the colonial soldiers drama Indigènes (Days of Glory), Thomas Gilou’s comparatively breezy Michou d’Auber might be the perfect antidote. Instead of prying in the thematic and visual murk, all is out in the celluloid sunshine in this unoriginal but handsomely mounted feature. Perhaps also due to the excellent performances from marquee names Gérard Depardieu and Natalie Baye as well as newcomer Samy Seghir, Michou d’Auber has already clocked up over 850 000 visitors in France. Further sales on DVD and TV are a distinct possibility. French film festivals should consider the film’s potential as counter-programming or double-feature material.

In rural 1960 Berry, Gisèle (Baye) has already tried to adopt a child from a home several times. When she learns that the proposed child for her latest try is a Muslim, she balks because she knows how her war-veteran husband Georges (Depardieu) would react. The woman in charge of placing the children in foster homes puts her foot down, however, telling her it is either him or no one, so Gisèle takes the little Mahmoud (Seghir) home.

Having survived her marriage with the sometimes impetuous Georges thus far, Gisèle is anything if not a practical woman and barely home she sets about dyeing the little one’s hair blond and tells him he is actually called Michel ("Michou" is a diminutive of Michel) and that he comes from up North instead of the colonies. Under the tutelage of a benign schoolmaster (Mathieu Almaric) who secretly has an eye on Gisèle, Michou tries to catch up at school, with every good grade becoming a reason for Georges to be extremely proud of his little blond rascal and every setback a cue for endless lessons in which Georges tries to imbue the little one with the virtues of the French language by dictating speeches from his hero Charles de Gaulle.

The story is a romanticised version of the life of co-screenwriter Messaoud Hattou -- with an emphasis of romanticised. Through Gilou’s presentation of the Berry region (perhaps not incidentally also the area where Depardieu grew up) as a kind of countryside Eden in which sunshine is omnipresent and the earth is fertile, the director pushes the politico-religious subject matter to the background and focuses on the humanity of his characters instead.
 
Gilou, also a collaborator on the script, prefers to focus on the what unites rather than divides humans and also waxes nostalgic about growing up as a child in the early 1960s, with the Algerian situation just a background noise that nevertheless impacts the lives of the small-town Frenchmen, a combination of themes that came together with even greater precision and craft in André Téchiné’s Les roseaux sauvages (Wild Reeds). Popular songs from the period are a great aid in establishing the time and mood as well, with the lyrics contributing to the story.
 
After his acclaimed performance in the Cannes Competition entry Quand j’étais chanteur (The Singer), Depardieu turns in another wonderfully realised performance, this time with shades of his work as the good farmer in Jean de Florette, perhaps with a bigger temper but with an equally big heart. His Le retour de Martin Guerre co-star Natalie Baye is equally luminous in yet another performance that focuses on her motherly qualities, while Almaric does what he can with what is essentially a throwaway role. The real casting coup of Michou d’Auber, however, is the little Samy Seghir, who succeeds in draining the attention away from the two stars in much the same way as the young Alessandro Morace frequently eclipsed his on-screen father Kim Rossi Stuart in Anche libero va bene (Along the Ridge).
 
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