Extension du domaine de la lutte
1999 Comedy / Drama   
 
Credits
  • Director: Philippe Harel
  • Script: Philippe Harel, Michel Houellebecq (novel)
  • Photo: Gilles Henry
  • Cast: Philippe Bianco (La voix du narrateur), Philippe Harel (Notre Héros), José Garcia (Tisserand), Catherine Mouchet (La psychologue), Cécile Reigher (Catherine Lechardoy), Philippe Agael (Henri La Brette), Alain Guillo (Buvet)
  • Country: France
  • Language: French
  • Runtime: 120 min
  • Aka: Whatever
 
 
 
Summary
A lonely computer programmer reflects on the empty meaningless of his loveless, solitary existence.  Since his partner walked out on him two years ago, he does nothing at weekends and regards his work as a monotonous chore.  On a business trip to Rouen, he is partnered with a younger man, Raphael, who is obsessed with finding a female bed partner but has no chance of getting one.   Realising that he has no future, our hero sinks deeper and deeper into depression...

Review
Philippe Harel both directs and stars in this quintessentially French portrait of existentialist angst and bitter reflection on the meaningless of life.  Based on the novel by Michel Houellebecq, the film revolves around a bored middle-aged computer programmer, referred to, ironically, as "our hero" by the voice over.  This character spends his time drifting between melancholia and suicidal despondency whilst pondering on the mysteries of quantum mechanics, sexual-economic theory and existentialist philosophy.

It sounds heavy stuff, and indeed some of the introspective reflection and neo-Freudian philosophical ramblings are very hard to follow.  Yet, despite this, and despite the overt blackness of the subject matter, the film is surprisingly accessible and, in a perverse way, entertaining.   Harel’s portrayal of a solitary man on the brink of a nervous breakdown and possibly suicide is eminently believable and lends the film a great tragic poignancy.

What makes this film so watchable and original is its caustic mix of dry comedy and sober drama.   The innumerable comic inserts (such as the answerphone message which assumes the caller has dialled the wrong number, or the brilliant line about dying in Rouen) make us laugh but, at the same time, they heighten the tragedy of our hero’s plight, which, to a greater or lesser extent, reflects our own.

Philippe Harel should be commended not just on the quality of his performance in this film (probably his best to date), but also on his courage in making the film in the first place.  It is an intelligent and well-crafted work which treats an unattractive subject with great humanity and sensitivity.

© James Travers 2001


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