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Minister of Affairs: Gérard Depardieu cozies up to Isabelle Adjani.
Veni, Vidi, Vichy
Isabelle Adjani toys with murder in World War II-era French farce 'Bon Voyage'
By Richard von Busack
AN EXAMPLE of what Edmund Wilson meant, after seeing a late-period Sasha Guitry film, when he groused about "Europe strutting its tired old stuff." Bon Voyage's intended-for-export title ("What's next: "Ooh La La"? as critic Steve Warren once put it) is a harbinger of the weary farce to come, in which a famous, feather-brained Parisian movie actress named Viviane (Isabelle Adjani) shoots an unwanted lover in a fit of pique.
Her besmitten former boyfriend and patsy, a poor writer named Frédéric (Gregori Derangère), is called in to dispose of the cadaver. Unfortunately, he ends up in jail for the killing. Months later, the outside world intrudes: it's 1940, and the German army is preparing to brush aside these petty matters. Freed from jail as part of the pre-invasion panic, Frédéric encounters Viviane again, this time in an overcrowded hotel in Bordeaux, where seemingly half the population of Paris has fled from the Nazis in panic.
Viviane has a new protector--a French cabinet minister (Gérard Depardieu, whose sparse hair is swept back, making him look amusingly like Lyndon Johnson). In the meantime, a nuclear scientist, his pretty but drabbed-down daughter (Virginie Ledoyen, the ingénue from 8 Women) and a carload of heavy water arrive in this Nazi spy-ridden city.
Depardieu, as the banana-spined politician ready to go Vichy, makes for a nice parallel with this go-along-to-get-along actress. Adjani, playing dumb and wide-eyed, dithers and raises her voice up an octave, but this (of course) quite beautiful woman doesn't manifest that vulnerability that really makes men fall for this act. A highlight of the film is the shrugging criminal, a Jean Gabin type played by Yvan Attal.
Director and co-writer Jean-Paul Rappaneau has been around since Belmondo's heyday (he directed the bright Bond spoof L'Homme de Rio), but his latest works have included the waxworky, rhyming-translated Cyrano de Bergerac and The Horseman on the Roof: the kind of movies intended to save the French film industry, which instead are finishing it off.
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