Le style d’Alain Chabat au cinéma

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00:00In cinema, Alain Chabat is an actor.

00:02In the city of fear,

00:04Cursed lawn,

00:05The cousin,

00:06The taste of others,

00:07Shrek,

00:07The person of no one,

00:09Reality,

00:10Night at the Museum 2,

00:11Valerian,

00:12Kaamelott,

00:13In short, he is an excellent actor.

00:15Drama, comedy, sci-fi, animation,

00:18everything suits him.

00:19Alain Chabat is also a screenwriter, one who loves a good quip.

00:22But in cinema, he is above all a director.

00:25From advertising to documentaries, including feature films, of course,

00:28Alain Chabat is diversifying.

00:29Without losing sight of what still makes this artist today,

00:32one of the most popular in France.

00:34His first feature film was released in 1997.

00:37But before that, he had already tried his hand at a series of advertisements for Orangina,

00:40where we already found the beginnings of his style.

00:43Hey, what's the text?

00:45Ah!

00:46Hmm?

00:47Ah!

00:49Didier is a kind of antithesis of "What a dog's life?"

00:51directed by Charles Barton,

00:53since here, it is not the man who turns into a dog,

00:56but the dog that turns into a man.

00:57However, that is not the story that interests us here,

01:00but rather the way he enjoys twisting it to make people laugh.

01:03Because one of the great particularities of his cinema will reside in the absurd.

01:06Get out of the situation to find the joke.

01:09And that's where his influences are notable.

01:11So it all started, Alain Chabat, the day you realized that we finally have the right,

01:15and you're the one who says it, to end up in a fight in the studio of the film being shot next door.

01:19There were things that really slapped me, like the sheriff being in jail.

01:22Indeed, there is a saloon fight that ends up in another movie studio,

01:25where there are crazy twisted women dancing with feathers up their asses.

01:29His gateway to humor comes from his passion for comics.

01:32This is where he will learn the meaning of the right word,

01:34in Pilote, Spirou and other Asterix.

01:36But his penchant for the absurd came from artists like Mel Brooks, the Azes and Monty Python.

01:42They all have the particularity of not being limited by conventions and other writing rules.

01:46which allow viewers to stay on the path of the story without branching off.

01:50For all these incredible artists, suspension of disbelief should not be a barrier to laughter.

01:54And that's how, as Chabat says,

01:56we find ourselves with cowboys who escape from their universe to continue the story in another.

02:01This is how in The Holy Grail, a film set in the middle of the medieval period,

02:04The police arrive at the end to stop the fight, and even the film.

02:11This is how Airplane ends with a blow-up doll taking off a plane.

02:20Without the wheels.

02:21Chabat is crazy about this process which consists of going beyond the simple guideline.

02:26And this is what will forge the humor of the dummies in their television sketch,

02:29but also in cinema,

02:30the city of fear constantly stepping out of line without fear of skepticism.

02:33In Didier, it is already distilled in a discreet way.

02:45Even though it's good, the story of a dog who turns into a man for no real reason,

02:49and without it being explained, it's already going in that direction.

02:52Then we dilute.

02:53Like when Bakri explains the principle of morphing, and it's illustrated.

02:56Or when he explains in no uncertain terms that you shouldn't sniff an ass unless invited to do so.

02:59And the director's strength is that he makes us believe in this situation.

03:03He goes so far in his approach that the absurd becomes one with the story.

03:06And we accept it, without even realizing it.

03:08While it's the story of a Parisian dog who transforms into a man to become a goalkeeper.

03:13Didier.

03:13Alain Chabat would continue his quest for the absurd throughout his career as a filmmaker.

03:29We know his penchant for fantastic cinema, which he will use as a spearhead to take over different eras,

03:35the Roman Empire, Prehistory, and different universes, like that of Santa Claus,

03:40that it will dilute in our daily life and our way of life.

03:43It's called the striving sense.

03:45Yes, because it's a name we came up with because we realized that it was a machine that allowed us to climb,

03:50to bring down people and his striving sense.

03:52Speak for yourself, eh!

03:53Won't it be all black there?

03:55I don't know.

03:57We really invented something to put there.

04:05And it is these little moments, more or less subtle, which give real flavor to his cinema.

04:09In Asterix and Obelix: Mission Cleopatra, the film leaves its universe more than once.

04:14We have a story, a defined era, but why stop there and set limits?

04:18So we're going to see gags that aren't supposed to be there.

04:22As if the story were composed of a multiverse within it and all universes were represented in the film.

04:27The same goes for Santa and company, where everything surrounding the universe, however unique Santa Claus is, is governed by our codes.

04:33I have stealth mode on, the skates are all smooth, and I have a flat queen in the front.

04:37These are suicides!

04:38Santa actually escapes from prison because he rolled a double with dice.

04:41Like Monopoly.

04:42And it's funny, because Chabat has no doubt about it.

04:44He takes this approach with such panache that it can only be successful.

04:48At least, it should be respected.

04:50He will push the madness even further in...

04:52...

04:53Co-written with the Robin Hood troupe.

04:55But here, he will be criticized for having put this too much forward to the detriment of the story.

04:59And on the form, I agree, there are so many gags that follow one another that it's hard to digest them all.

05:09The jokes are hilarious, as are the situations and characters.

05:12The scene with Guy...

05:14The stolen deer, the nightmare at Carrefour, it's brilliant.

05:25But the choice of the feature film was perhaps not the most coherent.

05:28In any case, it is not the one that best highlights this superb work of writing.

05:32Anyway, even though I'm aware of the film's flaws, I can't help but love it.

05:37Because for me he is the very essence of what Alain Chabat is as an artist.

05:40Always surrounded by the best, like Maurice Barthélémy who is masterful.

05:44And who even does us the honor of parodying Marlon Brando in Apocalypse Now.

05:48Horror envisions.

05:53He...

05:54Well, come on, that's enough.

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