Bienvenue chez les Rozes (2003)

User Rating:

6.4/10   

Director:

Francis Palluau

Writer:

Francis Palluau (written by)

Release Date:

2 April 2003 (France)

Genre:

Comedy

Tagline:

Une famille normale, tout ce qu'il y a de plus normale

Plot Keywords:

Murder | Lieutenant | Nudity | Criminal | Family Relationships

Cast

Lorànt Deutsch	...	Gilbert
Jean Dujardin	...	MG
Clémence Poésy	...	Magali
André Wilms	...	Daniel
Dominique Pinon	...	Le lieutenant
Michel Derville	...	Le banquier
Carole Bouquet	...	Béatrice
Olivier Saladin	...	Le voisin
Philippe Lamendin	...	Le journaliste bourse
Daniela Lumbroso	...	La journaliste
Vincent Martin	...	L'avocat
Christian Pereira	...	Docteur Merlot
Jean-Baptiste Shelmerdine	...	Le junkie
Clément van den Bergh	...	Ludovic
Daniel Kenigsberg	...	Le proviseur
Yolande Moreau	...	Marsanne
Charlotte Becquin	...	La jeune professeur
Michel Duchaussoy	...	Jean-Louis
Beatrice Rosen	...	Agnès (as Béatrice Rosenblatt)
Michèle Comba	...	La mère de Gilbert
Laurence Pollet-Villard	...	L'ex-femme de MG
Sabrina Ansidei	...	La fille du proviseur (as Sabrina Ansideï)
Rémy Roubakha	...	Le convoyeur
Quentin Baillot	...	Le chauffeur
Philippe Mambon	...	Le facteur
Elisa Palluau	...	La petite fille
Klaus Blasquiz	...	Le randonneur #1
Gilles Erhardt	...	Le randonneur #3
Laurent Cokelaere	...	Le randonneur #2
Gérard Prévost	...	Le randonneur #4
Gilles Erhart	...	Le randonneur #3
Gérard Prévost	...	Le randonneur #4

Directed by
Francis Palluau

Writing credits (in alphabetical order)
Francis Palluau		written by

Produced by
Charles Gassot	....	producer
Jacques Hinstin	....	executive producer

Original Music by
Serge Perathoner
Jannick Top

Cinematography by
Romain Winding		(director of photography)

Film Editing by
Véronique Parnet

Casting by
Philippe Page

Set Decoration by
Didier Dubedout		(decorator)
Jean-Marc Kerdelhue		(head decorator) (as Jean-Marc Kerdelhué)

Costume Design by
Jacqueline Bouchard

Makeup Department
Gérard Carrissimoux	....	key hair stylist
Jacques Clemente	....	key makeup artist (as Jacques Clémente)
Michel Demonteix	....	key hair stylist
Lydia Pujols	....	key makeup artist
Jean-Christophe Roger	....	key makeup artist

Production Management
Alain Barbaut	....	assistant unit manager
Manuel Cazorla	....	general unit manager
Daniel Chevalier	....	production manager
Marie-Paule Ester	....	assistant production manager
Alexandre Florent	....	unit manager trainee
Fanny Gauchery	....	unit manager trainee
Claire Le Saint	....	unit manager trainee
Christophe Quirin	....	unit manager trainee
Johann Rozo	....	unit manager trainee

Second Unit Director or Assistant Director
Mathieu Hiltzer	....	second assistant director
Anne-Marie Lefèvre	....	trainee assistant director
Louna Morard	....	first assistant director

Art Department
Céline Barray	....	greensperson
Martin Bartherotte	....	second assistant decorator
Philippe Bartherotte	....	ripper
Karim Boulbahri	....	trainee decorator
Cécile Arlet Colin	....	first assistant decorator (as Cécile Arlet)
Michel Grimaud	....	property master
Chana Hubert	....	trainee decorator
Anne Lacroix	....	trainee decorator
Arnaud Le Roch	....	second assistant decorator (as Laurent Le Roch)
Olivia Martin	....	trainee decorator
Julie Parnet Zidi	....	assistant set dresser
Christine Rey	....	upholsterer
Juliette Schwartz	....	assistant greensperson
Marie-Laure Valla	....	set dresser
Pierre Zouaoui	....	ripper

Sound Department
Jean-Philippe Angelini	....	post-synchro assistant
Guillaume Battistelli	....	voice editor
Frederic Dubois	....	sound editor
Isabelle Filippi	....	post-synchro assistant
Michel Filippi	....	post-synchronisation
Judith Guittier	....	foley assistant
Gérard Lamps	....	sound re-recording mixer
Lionel Le Bras	....	boom operator
Laurent Lévy	....	foley artist
Armelle Mahé	....	assistant sound mixer
Armelle Mahé	....	foley recordist
Armelle Mahé	....	post-synch recording
Brigitte Taillandier	....	sound engineer
Vinca Vermesse	....	boom operator

Special Effects by
Nicolas David	....	titles design
Olivier Zenenski	....	mechanical special effects (as Olivier Zeninski)

Visual Effects by
Fabien Girodot	....	digital artist
Olivier Valla	....	computer graphics

Stunts
Sybille Blouin	....	stunts
Stéphane Boulay	....	stunts
Gérard Kuhnl	....	stunts
Patrick Steltzer	....	stunts
Daniel Vérité	....	stunts advisor

Camera and Electrical Department
Stéphane Dion	....	electrician
Jean-Marc Duez	....	grip
Jean-François Garreau	....	key grip
Nicolas Juge	....	electrician
Romain Lacourbas	....	second assistant camera
Emilie de la Hosseraye	....	still photographer
Philippe Lardon	....	camera operator: cemetery segment
Bruno Le Cardonnel	....	grip (as Bruno Lecardonnel)
Sébastien Leclercq	....	first assistant camera
Tom Mitaux	....	electrician
Valentin Monge	....	Steadicam operator
Benjamin Moreau	....	grip
Olivier Rodriguez	....	chief electrician
Olivier Rodriguez	....	gaffer
Cécile Sollier	....	trainee camera
Benjamin Speyer	....	crane technician
Romain Winding	....	camera operator

Casting Department
Nathalie Garcia	....	extras casting

Costume and Wardrobe Department
Renata Bicz-Bouchaux	....	dresser
Germaine Ribel	....	costumer

Editorial Department
Stéphanie Carré	....	post-production coordinator
Nadia Dalal	....	assistant editor
Magali Magnan	....	assistant editor
Marie-Paule	....	negative editor
Annick Ménier	....	post-production coordinator
Alban Teurlai	....	television editor

Other crew
Michel Berchigny	....	animal handler
Patrick Braoudé	....	technical advisor
Jean Brun	....	administrator
Olivier Chaval	....	caterer
Marie-Paule Ester	....	production secretary
Danielle Flaesch	....	animal handler
Thierry Garnier	....	caterer
Patrick Lemaire	....	groupman
Bruno Patin	....	etalonnage
Marie-Thérèse Prunier	....	script
Marc Sauveroche	....	location manager

Production Companies

• TF1 Films Production
• TPS Star
• Téléma

Distributors

• CP Classics (Russia)
• TFM Distribution

Also Known As:

Welcome to the Roses (International: English title)

Runtime:

France:90 min

Country:

France

Language:

French

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

France:U | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud)

Company:

TF1 Films Production

Movie Connections:

Features Le retour de l'ascenseur (1996)

a couple of roses under a glass bell

*** This comment may contain spoilers ***

In his first long-feature movie, "Sitcom" (1998) the nasty piece of work François Ozon exploded a middle-class household with the intrusion of a rat that set the libido of the family free. In this flick directed by Francis Palluau, we will also watch a middle-class breaking into pieces. But the disruptive element isn't a rat but a duo of escaped prisoners (later in the film we will learn how they could escape in, let's say preposterous circumstances which cement a little more the hare-brained climate in which the movie bathes). So, these two ex-convicts, MG (Jean Dujardin) and Gilbert (Lorànt Deutsch)find refuge in a charming middle-class house whose couple is about to celebrate its 20-year old marriage. Our duo has no other solution than to take this entire brood in hostage. But, contrary to all expectations, they are warmly greeted by the occupants who don't think twice before helping them, they are even ready to put their guests off, even to kill them if necessary...

Palluau takes the spectator by surprise and takes him where he doesn't expect to go. Where he expects to encounter panicked hostages, he discovers strangely quiet and unscrupulous occupants. The Roze couple seems to be disconnected from the real world and from the gravity of the situation. By sheltering MG and Gilbert, they constitute themselves accomplices. One has to say that MG and Gilbert, in spite of their guns aren't bigmouths. So, the movie is constructed in its major part with a constantly eccentric tone which is out of step in relation to the action. The consequences are the following ones: to play down the importance of the murder sequences and sometimes it's nearly a dialog of the deaf between certain characters. To increase this gap between tone and action, Palluau even wrapped each shot of the house or the garden with a shimmering photography and shiny lighting effects. This doll's house seems to be virtually cut of the world although it belongs to a beautiful urban area (where apparently nothing happens...).

The starting point (the hostage-taking incident made by two gangsters to save their skins is 1000 miles from originality but the treatment is drastically different and as the movie unfolds before our eyes, we can guess the director's intentions: to shatter this soft middle-class household but also to let the failings show through. Palluau couldn't resist (it was almost inevitable) the craving for exploding the Roze family and removing the masks of its members. Throughout the movie, we will discover their mindless even fatuous behavior and their hidden vices. I think that Palluau's intentions have a little family likeness with Chabrol's cinema, notably in the malicious humor. Besides, nods to one of the 5 best masters of suspense are well present either it is in gastronomy (the delicious plain macaroons or the exquisite oenology session) and the cast includes an actor who acted in movies which constitute Chabrol's creative peak in the end of the sixties and the early seventies: Michel Duchaussoy (the Beast Must Die, 1969, the Breaking Off, 1970).

And while we linger on the possible references, the tandem formed by Dujardin and Deutsch isn't very far from the ones Francis Veber made popular. That said, Dujardin's performance is more subdued than Depardieu's. Beside him, Deutsch as the awkward and timid Gilbert can match Richard.

For the rest, there may be irregularities of rhythm: decent in the beginning and at the end of the film but slow-paces even sluggish in the middle but it's in these moments that the movie reveals what it has best in store. In the last half-hour, the plot really evolutes and comes to life. Moreover if the reversal of situation is contemplated but not completely finished, it's to drown a little more the Roze couple in ridiculous and bring out their idiocy. Then, elsewhere Palluau scattered his work with sarcastic humorist details which fit the intentions of the film closely.

In the end of the road, Palluau was within an ace of targeting the perfect black comedy. Just a little more effort and the work will be done. At last, this cue pronounced by Carole Bouquet: "how nice it is to be a lovely b****!" is worth the trip.