Entertainment

What in God’s name have we all done: we take the same ones and start over


NEWSPAPER – A troublesome “cash machine”, “a mess that is running out of steam”, the talent of the duo Christian Clavier-Marie-Chantal Lauby… on 3and part of Philippe de Chauveron’s comedy is not unanimous.

What in God’s name have we all done? the third part of the comic fresco devoted to marriages and family disagreements of the Verneuils, was released in theaters on Wednesday. On the occasion of the forty years of marriage of Claude (Christian Clavier) and Marie (Chantal Lauby), an assumed caricature of the bourgeois and conservative couple, their daughters organize a big family meeting. They have the rich idea of ​​inviting the foreign relatives – Chinese, Algerian, Israeli and Ivorian – of their spouses. The situation lends itself par excellence to comic springs. It repeats and exhausts, on the other hand, a vein already amply worn by the preceding films, noted the French press.

As in all parts of the film, questions of repetition and wear and tear arise. However, in the case of What in God’s name have we all done? the shortness of breath seems to come from its history, a pretext reduced to its most congruent part. Philippe de Chauveron’s film, already at the helm of the two previous chapters, serves the public “a mess that runs out of steam by going around in circles and exploiting the same ingredients. And, in the end, no longer makes you laugh at all“, according to the opinion of the newspaper The world . A bit more indulgent, Étienne Sorin deplores, in his review of the film for Le Figaro a movie “closer to a sketch suite than a genuinely written and directed comedy.”

“It’s always the same grub”

More embarrassing, the balancing act between the racist prejudices of the Verneuil parents and the big tolerant strings of comedy – a trademark of the saga – leaves in some an aftertaste that could not be more bitter. “A Jew, an Arab, a Chinese, an African, four very white French girls to marry, their smiling mother and their racist father”, enumerates Telerama devastated by a “cash machine” having brought in millions, before striking out: “A spade against the Yellows, a smile, a joke on the Blacks, a smile, it’s always the same grub.” Much more enthusiastic The Parisian preferred to praise a film that “is also a reflection of a society that is evolving in the face of issues of miscegenation”.

“The embarrassment continues”, also note The cross unimpressed by the repetition of the same racist springs of comedy, while recognizing him despite everything a “undeniable rhythm”. Because beyond an achievement that seems to leave the press indifferent at best, something can take. “Comic Slaughter” of the film’s flagship duo, Christian Clavier and Marie-Chantal Lauby, won over Le Figaro. And the “mess”, curried by The world and Telerama, rejoices on the contrary, Point : “We love each other, we argue, we laugh. The life !”. The feature film should also ensure the resurrection of cinemas, after a catastrophic month of March.

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