At the beginning of Untouchable, the director tells us that it is based on a true story – in the 2004 French documentary À la vie, à la mort, a rich man who was paraplegic due to a paragliding accident, Philippe Pozo di Borgo, and his indissoluble caretaker, a former African immigrant liar named Abdel Selu. Philip later published his autobiography, Second Breath, to tell the story.
Stills from the movie "Untouchable"
Untouchable is a really good movie — exhilarating, funny, heartwarming, etc., but its brilliance has nothing to do with the authenticity of the story. So, stop worrying about the divergence between narrative and record. Don't be disappointed by the racial change in one of the characters, enjoy the deep meaning of the film, the feeling that will cause contemplation, and don't pay too much attention to the authenticity of the details.
Written and directed by Olivier Nakas and Eric Tolanda, the film is the second highest-grossing film in French history. The film cleverly uses the structure of romantic comedy to depict the platonic friendship between two very different men, and there is not even a trace of sexual tension between the protagonists, but their interaction is full of love and friendship.
In the opening scene, a black driver with a white passenger crosses the streets of Paris at the speed of attracting police. When stopped, the black man said he was rushing to the hospital while his white boss, quadriplegic, had a seizure. After the police left, the two laughed, smoked, and drove away with a roar. It's no romantic love between two heterosexual men, and the affection between them is deep, perhaps only to be found outside of the movie. It's a movie about friends, in which friendship is no less than exaggerated action or vulgar comedy. From beginning to end, Untouchable tells the story of the development of an unlikely relationship between two very different people. On its own, it's hard to find something better.
The white boss Philippe (François Croce) is a quadriplegic man who is trapped in a wheelchair and unconscious from the neck down, but he behaves very well with his situation because he is wealthy and able to afford round-the-clock care, and with the help of secretaries, housekeepers and caretakers, he lives a fairly efficient life. When reality forced him to find an alternative caregiver, he interviewed all the ordinary candidates, and an eccentric candidate.
That is the black driver Dres (Omagh Hee), a tramp, unemployed person, or former thief who applied for the job only to prove to government officials that he was looking for a job so he could receive unemployment insurance in France. Philip was impressed by Dreys' unconventional interview method and gave him the job. Soon, after some difficulties, the friendship between this pair of "unequal" relationships began to blossom.
Supporting this unimaginable friendship is the fact that Philippe, despite his interest in classical music and modernist painting, was a staunch adventurer who was injured in a paragliding accident and still liked extreme physical sensations. The two are equally committed to love, though Dreys's approach is more direct, and he tries to convince Philip's sexy secretary (Audrey Flott) to take a bath with him; while Philip, after losing his wife, writes a noble romantic letter to a woman he hopes he will never meet. Despite his rude personality, Drees is a good matchmaker. He intervenes not only in Philip's love life, but also in the tragic teenage romance of his daughter (Alba Gaia Berugi), who is spoiled by Philippe.
Untouchable is full of inspiring little moments that remind us of how much joy we can find in the movie. Whether it's Dreys and Phillip speeding down the highway while stereos play Earth, Wind & Fire's famous song "September," Drees takes a dance storm at Philip's dreary birthday party, Drees plays Philip the Barber, or Drees's laughing reaction to an opera watched by the so-called upper class, the film is full of moments.
The humor and drama in the film are well balanced, never too sad, and although there is laughter, it is not a simple comedy. It respects the characters and their situation, has "American characteristics", that is, it should be popular in the United States, excluding the language factor. The directors seem to have been influenced by Hollywood, and have avoided too many minor plots that make the narrative too confusing. In addition to the development of the main line, there are other side lines in progress, but they are all cleverly articulated.
Like many friendship and romance movies, the chemistry between actors and characters represents the foundation of everything else. In this case, both men are winners. They understand their roles perfectly, fully integrate into them, and act them out sincerely. François Crouse is an experienced actor who has appeared in more than 100 film and television productions, and his appearance in France has aroused a warm response from the crowd, but he has not had a popular work on the other side of the Atlantic, except in the art film circle. Omagh Shee's resume was also impressive, but he didn't have much film experience at the time. The achievements of these actors deserve praise and recognition, they are the heart and soul of the whole movie.