#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In Paris, the aristocratic and intellectual Philippe is a quadriplegic millionaire who is interviewing candidates for the position of his carer, with his red-haired secretary Magalie. Out of the blue, the rude African Driss cuts the line of candidates and brings a document from the Social Security and asks Phillipe to sign it to prove that he is seeking a job position so he can receive his unemployment benefit. Philippe challenges Driss, offering him a trial period of one month to gain experience helping him. Then Driss can decide whether he would like to stay with him or not. Driss accepts the challenge and moves to the mansion, changing the boring life of Phillipe and his employees.
Plot: A true story of two men who should never have met – a quadriplegic aristocrat who was injured in a paragliding accident and a young man from the projects.
Smart Tags: #class_differences #caregiver #black_white_friendship #disabled_person #rich_poor #paralysis #quadriplegia #black_man #paris_france #painting #job_interview #wheelchair #pot_smoking #paragliding #abstract_painting #classical_music #friendship_between_men #bathtub #handicapped #writing_a_letter #reference_to_earth_wind_and_fire
|8.5/10 Votes: 768,788|
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One of the Most Unique and Beautiful Friendships ever Committed to Film
Do not look at this through the prism of “Foreign Films”. You’d be wasting your time and miss something far too important.
Hollywood does scale like nobody else, leaving the competition gasping in its wake. France does intimacy, and brutality. Nothing is sacred. And rather than try to revive the New Wave or emulate Hollywood like most widely seen French films of late, “Intouchables” harnesses its core strengths – ease with intimacy, willingness to ridicule anything and brutal honesty – and delivers one of the funniest, most honest and touching films I have ever seen.
Sy is a failed robber, going through the motions and playing the stereotypical jobless émigré. Cluzet is a romantic and melancholy mind trapped in a useless body. The circumstances that bring them together are too funny to spoil here, but meet they do, and an awkward relationship quickly blossoms as they bring out the best in each other.
The film’s simplicity is delightfully misleading: the script is a masterpiece of comedy writing, and however good the rest of the cast is, the central duo is magical. Sy’s comic timing will have you in stitches, but it is his honesty and vulnerability that make you fall in love with the character. Cluzet isn’t your typical sad-sack, instead, much of the finest pleasures in the film consist in watching him use his keen mind to mess with the world around him (a subplot about an abstract painting really takes the biscuit, you’ll know it when you see it).
This is one of the most unique, beautiful and honest friendships ever committed to film. It will make you laugh, it will make you cry… a delightful celebration of everything in life that makes it worthwhile.
A carefree (yes, carefree) comedy about a quadriplegic
This movie does not really need another review, but after seeing what Daily Beast’s (Marlow Stern) and Variety’s (Jay Weissberg) critics have written about it, I feel that one thing needs a serious clarification. It is somewhat disturbing and, at the same time, really telling a lot about USA’s culture that American reviewers see this movie as “race-relations” feature.
I’ve read all of the 38 reviews written here on IMDb until now and I would suggest to both Stern and Weissberg to do the same. Maybe they could learn something. Most of the reviews here were written by non-Americans and, tellingly, most of them do not even mention race or race relations or anything similar. To me that shows how deep anything to do with a difference in color of skin has been intertwined with USA culture when even in this film – where nobody from, let’s say the rest of the world, does not see any racism or anything similar – the only thing USA critics do see is the difference in color of skin. Sad, very sad.
I’m, therefore, afraid that, if it shares Stern’s and Weissberg’s opinions, most of the USA audience will not see the real beauty of this film and will, probably also under the influence of critics’ reviews, see the movie as a race-relations feature when that’s the only thing it’s not.
And what it is? It is (I can’t believe I’m gonna write this) a carefree comedy about a quadriplegic and his personal aide. The movie does not at any moment come even close to apathy or pathetics which is a success on its own. The movie also has just about the perfect amount of black humor and political incorrectness and does not cross those borders at any time. I think this is the only movie about a disabled human where, after seeing it, you will go out of the theater laughing. And I can’t remember any movie which approaches such a difficult theme with such ease.
Additionaly, the soundtrack – both Einaudi’s score as well as selected tracks – is fantastic.
A lot has been written here about cast and I would just like to add that along masterful performances of both Sy and Cluzet, the rest of the actors are equally great, especially Anne Le Ny and Audrey Flerot.
Original Language fr
Runtime 1 hr 52 min (112 min)
Genre Biography, Comedy, Drama
Director Olivier Nakache, Éric Toledano
Writer Olivier Nakache, Philippe Pozzo di Borgo (adapted from his autobiographical tale Le Second Souffle), Éric Toledano
Actors François Cluzet, Omar Sy, Anne Le Ny, Audrey Fleurot
Awards Nominated for 1 Golden Globe. Another 38 wins & 39 nominations.
Production Company Chaocorp, Canal+, Gaumont, Ten Films, TF1 Films Production, Quad Productions, CinéCinéma, TF1
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Aaton Penelope, Panavision Primo Lenses, Arri Alexa, Panavision Primo Lenses (some night scenes), Arriflex 435, Panavision Primo Lenses
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France (post-production laboratory)
Film Length 3.06 m (Portugal, 35 mm)
Negative Format 35 mm (Fuji Eterna Vivid 250D 8546)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm, D-Cinema