One of Matt Groening’s Life In Hell comic strips from the 1980s, entitled How to Be a Clever Film Critic, sets out cinema’s greatest paradox: “The French are funny. Yet no French sex comedies are funny.” Well, this film from Bertrand Usclat and Martin Darondeau proves that all commonly held certitudes must be disproved at some point, because here’s a French comedy, albeit one that’s not all that preoccupied with sex, that is a hoot. Set entirely in the Parisian institution of the title, this frothy farce unfolds over the three hours before the opening night curtain goes up on a production of Macbeth, which is being directed by actor turned metteur en scène Nina (Pauline Clément).
A series of catastrophes make it an open question as to whether the show will actually go on, starting from the moment Nina arrives at the entrance without her staff pass and has to try to get past the officious security team. Naturally, that’s just the beginning, and Nina must contend with superstitious actors, adulterous actors shagging while they rehearse (saying their lines between thrusts), a stoned grande dame (Danièle Lebrun), missing actors (Lady Macbeth is stranded in Brest while shooting a TV show on the side) and actors who understand their roles less than the usher (Sefa Yeboah), who is watching from the sidelines. Meanwhile, if there’s a technical problem, the stage manager (Christian Hecq) will tell you in tedious detail why it can’t be fixed, the wardrobe mistress (Florence Viala) discusses her colleagues’ bodily imperfections and the minister of culture is coming that evening to see the show.
Not only must Nina take over the role of Lady Macbeth, her former partner also dumps their toddler on her before the show starts – prompting a whole debate about women trying to juggle careers and motherhood at the same time. This is a bit less persuasive, and some viewers may feel baffled as to why the production only seems to have six or seven actors on hand to mount what looks like a pretty traditional version of Macbeth. But try not to think about any of that too much, and just enjoy the performers’ immaculate comic timing and the endearing portrait of French luvvies ensuring the show must go on.
Extract — continue reading at the source.
