A third part is racist, sexist and indigestible like the previous parts.
Christian Claver walks along the ramparts of Chinon, his beloved town where all his invading in-laws now settled: a café, its square and its alleys, there is no longer a place to rest for Father Verneuil who will end up being slaughtered. with his wife. grumbles and stamps his foot: “They are everywhere!Ce gimmick raciste lance le film dans la continuité des deux premiers, ces comédies éculées, travaillées par une seule et délirante motivation qui consiste à remâcher inlassablement leurs propres punchlines souffreteuses (à la tro- ce unheme tière), sommet d’ exhaustion).
But one thing is for sure, Franchouillard’s groundbreaking movie is back and showcasing his ambitions: more characters and therefore more antics. The development of the three business posters testifies to this, they are more and more full, the family image is saturated and intensified. This time, the four in-laws invited their parents from their home country to the family’s big house, marking the Verneuil couple’s 40th anniversary. Instead of a new batch for the scenario, it’s an unconstrained mathematical process taking place: What the hell have we all done? And so it becomes a square comedy, which is no longer afraid of anything because everything is good.
The proliferation of mindless characters has given rise to a series of anomalous friction diagrams. In a bulimic gesture (not in vain that this trilogy is so obsessed with food), the film swallows up absolutely everything that could easily be targeted with disdain: contemporary art, theatre, our German genetic enemies, the disabled…anything goes. An Asian grandmother forced to repeat it ten times (“Balloon of Ribs and Pork!”‘), a treacherous German art collector vigorously flirts, a Portuguese worker dressed as Super Mario builds a brick wall to separate an Arab garden from a Jewish garden, and a black Jesus watches them nibble at forbidden fruit… Exhaustion is never far away.
war between the sexes
However, aside from all that disdain and the xenophobic aspect that the saga has always been grinding into for three movies now, sexist forms are also increasingly necessary. If the characters grow up but never evolve – tasking them with hiding their small, persistent thoughts as intelligently as possible – they are never condemned to stay by their side, that is to say in their own kind. Men and women are constantly separated, in text, in plans, on stage, in ideas, everything is there to remind you that nothing beats the good times “Nuba” Away from clumsy couples or eunuch companions. Then all the peas are consumed in great hypocrisy, about the last traditional buffet, the perfect moment for counting points and assigning a champion. Even Johnny Hallyday hit the rally as a form of redemption that couldn’t save anything. The victory of pork over the salsify tart.
What have we all done to God? By Philippe de Chauveron – In theaters Apr 6, 2022
