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September 12, 2011 – 10:17 pm | No Comment
This week the FPH crew discuss the 9/11 anniversary, fast food, and we have a frank interview with Robert Ellis.

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Submitted by Commandrea on April 22, 2011 – 2:13 amNo Comment

Leon casino, I was perplexed that François Ozon’s previous film Ricky was never released theatrically in the US. A funny yet metaphysical allegory about a baby that grows angel wings Ricky has at least seen DVD distribution domestically (in French with subtitles natch). So it’s the best of worlds that Ozon’s latest Potiche opens in an exclusive engagement at the Edwards Grand Palace. Potiche was highly lauded in France when it was released there last year.
While Ricky definitely deserves interest it is like a small tonal poem compared to the broad satire of Potiche. With snide commentary on the battle of the sexes as well as the class struggle of the worker, all contained within a delightful comedy set in the 1970s, Ozon has delivered a star-studded hit.
Catherine Deneuve headlines as a repressed housewife who almost gladly accepts her servile position. Her husband (a sly Fabrice Luchini) runs the factory that was her dowry. When he’s not talking down to his wife he’s blatantly having affairs with his secretary in addition to frequenting strip clubs. This is not a fair marriage. Deneuve’s daughter (Judith Godreche) openly accuses her father or being unfair, to little avail. The title refers in French slang to a wife being an ornament, a trophy.
So it’s little surprise when Luchini suffers physical exhaustion and Deneuve replaces him as head of the factory, in effect making him a recuperating trophy husband. Gerard Depardieu plays a union labor rep that becomes involved with Deneuve. In some ways the characters Ozon presents are caricatures but in another sense they are meant to reflect society’s attitude towards various persuasions and ideals. Potiche gives audience entertainment disguised as social commentary, and with Ozon at the helm that’s pretty easy to swallow.

- Michael Bergeron

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