Written and directed by Olivier Nakache and Éric Toledano, “C’est La Vie!” is a French comedy about a cantankerous, but well meaning, caterer rallying his crew for an elaborate wedding at a prestigious French chateau. Max (Jean-Pierre Bacri) has a lot on his mind as he ventures out of Paris and into the beautiful countryside where his team is beginning to transform the 17th century palace into one couple’s ‘dream come true‘. The musicians that the Groom, Pierre (Benjamin Lavernhe), wanted aren’t available so they’ve hired a combative DJ (Gilles Lellouche) at the last minute, the catering team and the musicians are squabbling over elevator use, and the Groom also wants an elaborate finale with fireworks and high flying balloon acrobatics. There’s also the fact that one of his waiters knew the Bride (Judith Chemla) years earlier and is still smitten for her, a few of his crew were unavailable so a less than ideal replacement has arrived via his number one in command, Adèle (Eye Haidara)- and that’s not to mention that Max’s secret girlfriend, Josiane (Suzanne Clément), that he works with has been giving him the cold shoulder as he’s still technically married even though both parties are seeing other people at this point. Whew!
That’s not even half of the elevated antics that take place in the film, and its a miracle that the pacing and heavy character count never gets too cumbersome or uninteresting. There’s a mark of brilliance in this film where everything that’s taking place may seem chaotic and erratic, but the irony that the filmmaking on display is incredibly efficient and clever likely isn’t lost on anyone involved in anything as large and unwieldy as making a film or catering an event will know. There about five to seven sub-plots and character arcs that are all weaved through various problems that the crew encounters as Max and his team constantly have to adapt to. Which just so happens to be his mantra on site, whenever something goes wrong, say a power outage that ruins the main course dinner, Max asks of his crew, “What do we do?” to which they dutifully reply “We adapt!”. The film handily juggles the quirky personalities of the catering crew, their needs, faults, doubts and successes, all with care and in a timely fashion.
The film confidently relies on it’s colorful characters and a consistent witty humor that snaps between sarcastic cynicism and a charming level of earned optimism, and it’s all the better for it. An upbeat jazz-imbued score plays into the chaotic, but classy, sense of momentum that rides throughout the film’s scenes giving it the proper tone that fits these characters nice and snug. Even though almost everything goes awry, the film acknowledges the intensity of the moment without getting too nasty or dark. In the end our resolution is met with a gentle recognition that even when it seems as though everything has gone wrong- not all is lost!
The film may be a bit bourgeoisie at times, but it never gets too rude about it. In fact there are undertones of working class humor levied at those in the upper class who are too stuffy and cannot take a joke (looking at you Pierre!). If you enjoy ensemble comedies that dish out a brevity of levity with a lovable cast of oddball characters, then I highly recommend checking this one out!
Final Score: Dozens of Twirling Napkins!