This
movie knocked me off my perch I was expecting another historic
period piece (which can prove weighty), but Molière
was witty, intelligent, and most of all entertaining – a
sharply etched, amusing romantic costume drama with a feel for
the period. From the opening in the grotty Paris streets and taverns
to the elegant chateaux of the wealthy, it has that touch of realism;
making it a handsome film to watch thanks to the impeccable photography
of Gilles Henry.
More than its look is a set of fine performances
from the leads. You don’t have to know anything about Moliere
by the way to appreciate the film, although if you do it will
add to the enjoyment. Both the lavish costuming and the dressing
of the sets are of the highest standard.
In 1658 when actor playwright Jean-Baptiste Poquelin
known as Molière (Romain Duris) returns to Paris with his
acting troupe after 13 years touring the provinces, their reputation
for knockabout farce enables them to have a theatre in Paris provided
by the King. But Molière decides tragedy is the highest
calling, though after being called to the bedside of an unseen
woman he comes to realise comedy may after all be the answer.
In a long flash back to1644, bankrupt young Molière
is seized during a street performance and thrown into a debtors’
prison. He’s bailed out by wealthy benefactor Monsieur Jourdain
(Fabrice Luchini) who secretly hires him for acting lessons and
as the ghostwriter of a love poem. Jourdain wishes to perform
the poem in the wooing of stylish though supercilious widow Celimene
(Ludivine Sagnier). He’s fallen for this frosty lady despite
being married to a lovely wife (Laura Morante). Jourdain sets
Molière up in his household masquerading as a priest Tartuffe,
apparently there to tutor his daughter. However Molière
becomes smitten with Madame Jourdain. You can imagine the funny
complicated farce that results.
Director
and co-writer Laurent Tirard (The Story of My Life) fabricates
what might have happened when an unknown admirer rescued Molière
from prison, and whether the writer’s later plays reflect
experiences from that time. Tirard handles his actors skillfully
and keeps things pacy. The whole thing seldom misses a beat. Some
of the memorable scenes include the early street performance by
Molière with the troupe and his sudden arrest; and M. Jourdain’s
hopeless acting lessons (especially the ridiculous horse routine).
There’s also a disastrous hunt where a dog is accidentally
shot, in which Jourdain’s wonderfully bemused expression
is held on the screen in a neat bit of editing; and his inept
and woeful poetry reading to Celimene.
While Romain Duris (Russian Dolls) confidently
provides us with a convincing young Molière, to a large
extent Fabrice Luchini’s lovelorn Jourdain steals the best
moments of the film. Rather a Jean Rochefort type, he’s
a likable buffoon worthy of sympathy. Edouard Baer (French
Spies) as Dorante, Jourdain’s dodgy smooth talking
friend adds an amusing dimension of foiled plotting. As Jourdain’s
haughty wife Elmire, Laura Morante (Coeurs) manages a
flawless portrayal, and Ludivine Sagnier (Un Secret)
does a great turn as the cool object of desire Celimene.
So, for a flighty Gallic farce in period costume,
Molière is worthy your consideration. It cheerfully
blends comedy, romance and drama with intelligence and a touch
of slapstick. You may also come away knowing a little more about
a great playwright and a fascinating character.
This
movie knocked me off my perch I was expecting another historic
period piece (which can prove weighty), but Molière
was witty, intelligent, and most of all entertaining – a
sharply etched, amusing romantic costume drama with a feel for
the period. From the opening in the grotty Paris streets and taverns
to the elegant chateaux of the wealthy, it has that touch of realism;
making it a handsome film to watch thanks to the impeccable photography
of Gilles Henry. 
Director
and co-writer Laurent Tirard (The Story of My Life) fabricates
what might have happened when an unknown admirer rescued Molière
from prison, and whether the writer’s later plays reflect
experiences from that time. Tirard handles his actors skillfully
and keeps things pacy. The whole thing seldom misses a beat. Some
of the memorable scenes include the early street performance by
Molière with the troupe and his sudden arrest; and M. Jourdain’s
hopeless acting lessons (especially the ridiculous horse routine).
There’s also a disastrous hunt where a dog is accidentally
shot, in which Jourdain’s wonderfully bemused expression
is held on the screen in a neat bit of editing; and his inept
and woeful poetry reading to Celimene.