IMDb > With a Friend Like Harry... (2000)
Harry, un ami qui vous veut du bien
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With a Friend Like Harry... (2000) More at IMDbPro »Harry, un ami qui vous veut du bien (original title)

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With a Friend Like Harry... -- Trailer

Overview

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7.2/10   7,786 votes »
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Director:
Writers:
Dominik Moll (scenario) and
Gilles Marchand (scenario) ...
(more)
Contact:
View company contact information for With a Friend Like Harry... on IMDbPro.
Release Date:
15 August 2000 (France) See more »
Genre:
Tagline:
Who needs enemies?
Plot:
Harry knew Michel in high school; they meet again by accident, Harry inserts himself in Michel's life... and things take a sinister turn. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for BAFTA Film Award. Another 7 wins & 14 nominations See more »
NewsDesk:
(4 articles)
User Reviews:
Ersatz Hitchcock. See more (108 total) »

Cast

  (in credits order) (complete, awaiting verification)

Directed by
Dominik Moll 
 
Writing credits
Dominik Moll (scenario) and
Gilles Marchand (scenario)

Francis Villain (poem "Un poignard en peau de nuit")

Produced by
Michel Saint-Jean .... producer
Eric Zaouali .... line producer
 
Original Music by
David Whitaker  (as David Sinclair Whitaker)
 
Cinematography by
Matthieu Poirot-Delpech 
 
Film Editing by
Yannick Kergoat 
 
Casting by
Antoinette Boulat 
 
Production Design by
Michel Barthélémy 
 
Set Decoration by
Boris Piot 
Jérôme Portier (uncredited)
 
Costume Design by
Virginie Montel 
 
Makeup Department
Sylvie Aid .... key makeup artist
Laurent Blanchard .... hair stylist
Murielle Brot .... makeup artist
Valérie Tranier .... makeup artist
 
Production Management
Jerome Albertini .... assistant unit manager
Sandrine Brauer .... post-production supervisor
Clément Sentilhes .... unit production manager
Eric Zaouali .... production manager
 
Second Unit Director or Assistant Director
Rafaele Ravinet-Virbel .... first assistant director
Stephanie Vallé .... third assistant director
Léonard Vindry .... second assistant director
 
Art Department
François Borgeaud .... propman
Xavier Buffin .... head painter
Eric Conrad .... assistant decorator
Jean-Pierre Delettre .... carpenter
Jacky Frankiel .... painter
Mohamed Hamadache .... assistant decorator
Xavier Laroyenne .... carpenter
Lionel Lesage .... carpenter
Pascale Mansion .... assistant decorator
Frédérique Menichetti .... painter
Boris Piot .... set dresser
François Scala .... carpenter
Bertrand Terreyre .... carpenter
Martinus Van Lunen .... construction coordinator
 
Sound Department
Nicolas Becker .... sound effects editor
Marilena Cavola .... assistant sound editor (as Marilena Cavola Hardy)
Peter Cobbin .... sound engineer
Gérard de Lagarde .... sound effects editor
Thomas Desjonquères .... sound editor
Andrew Dudman .... assistant sound engineer
Gérard Hardy .... sound editor
Gérard Hardy .... sound
Gérard Lamps .... sound re-recording mixer
François Maurel .... sound
Fred Messa .... boom operator
Mohamed Mourchid .... sound recordist
Alex Scannell .... assistant sound engineer
Williams Schmit .... adr mixer
 
Special Effects by
Rémi Chouroulinkov .... special effects
Dominique Corbin .... special effects
Pierre Foury .... special effects
Jean-Pierre Grandet .... special effects
 
Visual Effects by
Luc Augereau .... visual effects producer
Arnaud Fouquet .... digital artist
François Vagnon .... visual effects supervisor
 
Stunts
Francis Auguy .... stunts
Michel Norman .... stunts
Patrick Robineau .... stunts
 
Camera and Electrical Department
Kamel Belaïd .... electrician
Fabien Benzaquen .... assistant camera: "b" camera
Alexandre Bon .... assistant camera: "b" camera
Jacques Bulot .... gaffer
Claire Caroff .... focus puller
Stéphanie De Fenin .... second assistant camera
Frédéric North .... pilot: camera helicopter
Philippe Quaisse .... still photographer
Carlos Ribeiro .... grip
Hervé Rousset .... key grip
Mohan Valmy .... electrician
 
Casting Department
Constance Demontoy .... casting: children
 
Costume and Wardrobe Department
Isabelle Pannetier .... costumer
Isabelle Pannetier .... wardrobe
 
Editorial Department
Agathe Cauvin .... assistant editor
Olivier Gourlay .... first assistant editor
Isabelle Julien .... color timer
 
Music Department
Ian Brown .... musician: piano solos
Hakima Guerziz .... assistant music consultant
Nick Mera .... music copyist
Eric Michon .... music consultant
Jonathan Rees .... musician: first violin
Colin Sheen .... orchestra leader
David Whitaker .... conductor (as David Sinclair Whitaker)
David Whitaker .... music arranger: "Ramona" (as David Sinclair Whitaker)
Su Whitaker .... assistant to composer (as Susan Whitaker)
 
Other crew
Sandrine Brauer .... production assistant
Pierre Cadeac .... animal trainer
Nathalie Lampre .... production administrator
Tanguy Thuaud .... aerial shot
Michel Védié .... groupman (as Michel Védie)
Charles Zemer .... production assistant
Anna Zenowicz .... script supervisor
 

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
"Harry, un ami qui vous veut du bien" - France (original title)
"Harry, He's Here to Help" - International (English title), UK (original subtitled version)
See more »
MPAA:
Rated R for language, some violence and a scene of nudity
Runtime:
117 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Company:

Did You Know?

Quotes:
[on how to deal with difficult parents]
Harry Ballestero:You have to overreact.
See more »
Movie Connections:
Soundtrack:
RamonaSee more »

FAQ

This FAQ is empty. Add the first question.
4 out of 6 people found the following review useful.
Ersatz Hitchcock., 5 December 2000
Author: Alice Liddel (-darragh@excite.com) from dublin, ireland

'Harry' is a portrait of a marriage. Reviewers have pointed out the film's debt to Hitchcock - why do people always call films which 'borrow' the superficials (plot, music, characters, set-pieces etc.) Hitchcockian, when his true inheritors are directors like Godard and Marker? - but his oeuvre only contains two notable films about marriage, 'The Man who knew too much' and 'The Wrong Man'. These films show marriage cracking under the strain of some exterior threat.

'Harry' begins with a marriage already at crisis point - symbolically confined in an old car without air conditioning, driving towards a delapidated country house, young children bawling, mother unable to do anything, father getting increasingly frustrated, all seat-belted for greater entrapment. I remember it well. Laurent Lucas is the new Francois Cluzot, the grim, unhappy, modern man conspired against by circumstances that are not melodramatic, but everyday; financial, parents, frustrated ambitions etc.

If this is Hitchcock, it is a French version as mediated by Chabrol - there is the same contrast between the artificiality of the plot and the natural surroundings that stage it. This opening of a car, a family, classical music, the drive to a summer retreat, the intrusions of two strangers, remind me of another recent European thriller, Haneke's 'Funny Games'.

The film borrows from a lot of Hitchcockian sources - 'The Man who knew too much', 'Vertigo', 'Psycho', 'The Trouble with Harry' (in reverse), especially 'Strangers on a train' - Harry's character is sometimes more Highsmith than Hitchcock, a mixture of Tom Ripley and Dickie (here it is the rich man who wants to belong with the less well-off).

The meeting of Michel and Harry is signalled with HItchcockian criss-cross; ominously, in a public lavatory. There is a sense of magic or fairy tale here, as the two characters and their reflections reunite and fragment at the same time, suggesting a transformation scene, a switching of personalities and identities. It is at the moment when Michel feels most exasperation (and the need for gender security, in the male toilets) that Harry turns up, suggesting that he is Michel's double, an expression of his unconscious desires, somebody who will do what he wouldn't dare. This is the 'transference of guilt' narrative beloved of Hitchcock, one which found its purest expression in 'STrangers'.

There are some reasons why this contrivance does not carry the same weight here. Firstly, both characters are unpleasant and unlikely to win much audience support - 'STrangers' is so disturbing because the good guy is so cold, ruthless and unsympathetic, while the baddie seems vulnerable, and his motives are comprehensible. There are occasional attempts to suggest Harry's demons, as he screams in silence like a Francis Bacon painting. Michel, while never likable, is not calculating enough to provide an effective contrast. This blunts the transference of guilt - it is his wife, Claire, who resents his parents, who wishes for a bigger car etc. She also bears the film's misogyny, perhaps Hitchcockian, as she shows no sympathy towards her husband's creative endeavours (an attempt to regain childhood?), but as this only surfaces in the last ten minutes, it denies the plot frisson.

In the half-century since 'STrangers', Moll is still coy about homosexuality; although he never shows the much-alluded to heterosexual act, and engineers a number of encounters where a near-naked Harry and Michel discuss sexual prowess (to the point where Harry's eggs of virility become agent of Michel's creative fertility), there is no real sexual charge between them, making Harry look like a pervert trying to destroy the family, rather than showing a family stifling such urges in Michel. Hitchcock is more sympathetic to his lonely gays. He is also superior at creating narrative and suspense - Moll never makes his contrivances seem inevitable or plausible as his Master does, and after half an hour his film is slow-burning without becoming tense or exciting. The hallucinations and heavy ironies of the final quarter don't help.

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Anyone else saw the HUMAN head on the shelf??!!??!! benjamAnt
the well and other symbolism olddoubtful
American remake? xach-2
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Why Kiss Plum? Why Dump Harry's Body? phatclassics
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