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Bienvenue chez les Rozes 2003
Description: Two ex-convicts, MG and Gilbert search refuge in a charming middle-class house whose couple is about to celebrate its 20-year old marriage. Our duo has no another solution than to take this whole brood in hostage. But, contrary to all expectations, they are warmly greeted by the occupants who don't think twice before supporting them, they are even ready to place their guests off, even to slay them if necessary...
Released: 02 Apr 2003 Director: Francis Palluau Writers: Francis Palluau Actors: Lorànt Deutsch, Jean Dujardin, Clémence Poésy, André Wilms Genres: Comedy
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Bienvenue chez les Rozes Reviews:

Imagine a movie in which the plot turns ever more twisted with every circumstance. As if "Le diner de cons" meet "Pulp Fiction". Murphy's Law tangles each well laid plan into a unexpected and ever deepening mesh of disastrous consequences, in which each hero willingly and cathartically expose themselves to be exactly the opposite of who they are portrayed to be… shockingly so in fact. "Bienvenue chez les Rozes" is like a ebook that you can't place down. The hard and delicate elements that create dark humor work are held in excellent balance by Palluau's direction, screenplay and gifted cast in this perfect and inspired film. Dramatic, sexy, gory, comedic, shocking and smart, from its star studded cast to the "four randonneurs" who cue the quirky haunting musical theme just in time to remind us that this is a comedy, "Bienvenue chez les Rozes" is at the top of my favourite French Movie list, and I suggest it highly to American viewers as well. Bravo!


...would still be a nice Black comedy. Francis Veber has a lot to respond for and he is actually gaining disciples, which may be fitting for Veber himself is a French Billy Wilder (albeit one who lives in Hollywood) in all but name. It's hard to comment on this movie without going into spoiler mode, to tell 'dysfunctional family' is to insult the Borgias. Suffice it to tell that any film with the wonderful Carole Bouquet is not to be missed and when Bouquet, the personfication of elegance gets blood on her hands she fails miserably her Lady Macbeth audition. If you like films that start innocuously and spiral progressively out of control only to be resolved like a chord by Schoenberg then this one has your name on it.


In his first long-feature movie, "Sitcom" (1998) the nasty piece of work François Ozon exploded a middle-class household with the intrusion of a rat that set the libido of the family free. In this flick directed by Francis Palluau, we will also watch a middle-class breaking into pieces. But the disruptive element isn't a rat but a duo of escaped prisoners (later in the movie we will learn how they should escape in, let's tell preposterous circumstances which cement a tiny more the hare-brained climate in which the film bathes). So, these two ex-convicts, MG (Jean Dujardin) and Gilbert (Lorànt Deutsch)find refuge in a charming middle-class house whose couple is about to celebrate its 20-year old marriage. Our duo has no another solution than to take this whole brood in hostage. But, contrary to all expectations, they are warmly greeted by the occupants who don't think twice before supporting them, they are even ready to place their guests off, even to slay them if necessary...Palluau takes the spectator by surprise and takes him where he doesn't expect to go. Where he expects to encounter panicked hostages, he discovers strangely quiet and unscrupulous occupants. The Roze couple seems to be disconnected from the true globe and from the gravity of the situation. By sheltering MG and Gilbert, they constitute themselves accomplices. One has to tell that MG and Gilbert, in spite of their guns aren't bigmouths. So, the film is constructed in its major part with a constantly eccentric tone which is out of step in relation to the action. The consequences are the following ones: to enjoy down the importance of the murder sequences and sometimes it's nearly a dialog of the deaf between certain characters. To increase this gap between tone and action, Palluau even wrapped every shot of the house or the garden with a shimmering photography and shiny lighting effects. This doll's house seems to be virtually slash of the globe although it belongs to a pretty urban zone (where apparently nothing happens...).The starting mission (the hostage-taking incident made by two gangsters to save their skins is 1000 miles from originality but the treatment is drastically various and as the film unfolds before our eyes, we can guess the director's intentions: to shatter this soft middle-class household but also to allow the failings present through. Palluau couldn't resist (it was almost inevitable) the craving for exploding the Roze family and removing the masks of its members. Throughout the movie, we will explore their mindless even fatuous behavior and their hidden vices. I think that Palluau's intentions have a tiny family likeness with Chabrol's cinema, notably in the malicious humor. Besides, nods to one of the 5 greatest masters of suspense are well show either it is in gastronomy (the delightful plain macaroons or the exquisite oenology session) and the cast contains an actor who acted in films which constitute Chabrol's constructive peak in the end of the sixties and the early seventies: Michel Duchaussoy (the Beast Gotta Die, 1969, the Breaking Off, 1970).And while we linger on the possible references, the tandem formed by Dujardin and Deutsch isn't very far from the ones Francis Veber made popular. That said, Dujardin's performance is more subdued than Depardieu's. Beside him, Deutsch as the awkward and timid Gilbert can match Richard.For the rest, there may be irregularities of rhythm: decent in the beginning and at the end of the movie but slow-paces even sluggish in the middle but it's in these moments that the film reveals what it has greatest in store. In the last half-hour, the plot really evolutes and comes to life. Moreover if the reversal of case is contemplated but not fully finished, it's to drown a tiny more the Roze couple in ridiculous and bring out their idiocy. Then, elsewhere Palluau scattered his work with sarcastic humorist features which fit the intentions of the movie closely.In the end of the road, Palluau was within an ace of targeting the excellent black comedy. Just a tiny more effort and the work will be done. At last, this cue pronounced by Carole Bouquet: "how great it is to be a lovely b****!" is worth the trip.



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