Jean-Pierre Marielle, Andre Dussolier and Jacques Villeret are dining in a restaurant where the first is surprised when the waiter does not bring him the bowl of hot water he had ordered. His friends start to go on about his lack of conviction when makes an order. Jean-Pierre Marielle soon exits, replaced by Claude Rich, whom Andre Dussolier and Jacques Villeret interrogate about his eternal smile... Bertrand Blier scrutinises the existential disarray of his actors through a long succession of crazy sketches, impregnated with cruelty and self-derision. But all this ends up as nothing.
8 Reviews
post-modern frolic (SPOILER)
Mrswing6 June 2003
Warning: Spoilers
There's some very clever humour in this film, which is both a parody of and a tribute to actors. However, after a while it just seems an exercise in style (notwithstanding great gags such as Balasko continuing the part of Dussolier, and very good acting by all involved) and I was wondering why Blier made this film. All is revealed in the ending, when Blier, directing Claude Brasseur, gets a phone call from his dad (Bernard Blier) - from heaven, and gets the chance to say how much he misses him. An effective emotional capper and obviously heartfelt. But there isn't really sufficient dramatic tension or emotional involvement to keep the rest of the film interesting throughout it's entire running time. Some really nice scenes and sequences, however, and anyone who likes these 'mosntres sacrés' of the French cinema should get a fair amount of enjoyment out of this film.
Enjoyable play, not movie
Mighty Rider29 May 2002
This is the kind of film to see relaxed and without any expectations. It is just like a recorded play of theater, although not linear, but with a common message along the way. It is a curious, enjoyable experiment not like any other movie I have seen.
Great actors but the director's script is awful
pnapo216 September 2003
i am very disappointed with this movie because i like these french actors and i liked "Buffet Froid" from this Director (bertrand blier) but the script of "Les Acteurs" is VERY POOR. why these actors they agreed to play this poor scenario.
A Tribute to French Actors and French Cinema
Oreste24 July 2001
_Les Acteurs_ is the absurd story of Jean-Pierre Marielle desperately waiting for a cup of hot water, the story of a conspiracy against actors, the story of aging actors whose careers are slowly less active than they used to be, but a stunning tribute to French actors and their cinema.
Supported by a solid reflection about cinema and acting (the fourth wall, the hidden cameras, to play or not to play), the story of this film in which most of those famous actors play their own role (not to be mixed up with living their life in front of the camera - the film is not voyeur) is quite vague, and follows the actors in series of episodes which make the film quite amusing. As André Dussolier quits the film and leaves Josiane Balasko to play his part (great actress, she's hilariously serious especially when, in Dussolier's role, she bitches about herself), as actors run in each other on the street, asking for autographs, as fights and gossip happen, we recognize pastiche of other scenes in which each (or others) have played.
Actually, for whoever does not know the actors (most of them being at least in their 50s) or does not know French Cinema, this movie has less interest, since most of the references will be missed, but it will still offer a good track of reflection on aging, on acting, on public life...
Supported by a solid reflection about cinema and acting (the fourth wall, the hidden cameras, to play or not to play), the story of this film in which most of those famous actors play their own role (not to be mixed up with living their life in front of the camera - the film is not voyeur) is quite vague, and follows the actors in series of episodes which make the film quite amusing. As André Dussolier quits the film and leaves Josiane Balasko to play his part (great actress, she's hilariously serious especially when, in Dussolier's role, she bitches about herself), as actors run in each other on the street, asking for autographs, as fights and gossip happen, we recognize pastiche of other scenes in which each (or others) have played.
Actually, for whoever does not know the actors (most of them being at least in their 50s) or does not know French Cinema, this movie has less interest, since most of the references will be missed, but it will still offer a good track of reflection on aging, on acting, on public life...
Who's Who talks the talk and walks the walk
jjr-7647427 August 2021
Warning: if you are not acquainted with french cinema and its stars and cult actors, you may miss the point of this movie entirely. However watch it with someone who is and you'll get a crash course in french cinema plus a funny take on the quirks and tropes of its big faces.
There may be a plot, but it's not the point, this is a love letter to actors from one of the best actor director and dialogs writer in the business, Bertrand Bier, son of Bernard, one of the best actors ever, has directed 20 movies to date, and worked with the best actors of his generation. He made Depardieu, Miou-Miou or Dewaere households names, he gave Alain Delon, Jeanne Moreau, or Michel Blanc their most unexpected roles, or gifted Michel Serrault, jean Carmet. Charlotte Gainsbourg, Josiane Balasko or Gérard Lanvin with their best lines ever.
So It is no surprise that everybody who was someone in french cinema in 2000 answered present to his call, at least on the male side, this is les "les acteurs", unfortunately he never got around to making "les actrices", From Delon to Dussolier, Belmondo to Brasseur, Depardieu to Marielle, Galabru to Brialy, Arditi, and so on... they are all here, deliciously self parodying their on screen persona, magnifying the very witty dialogs they're given, and even the ghosts of past greatness (gabin, ventura, Blier and Brasseur's fathers) are very sweetly and delicately called to the screen.
This is a singular gem, to be cherished by all cinema lovers, as it shall walk them through all their years of movie going and recall all the emotions they have had in from of a silver screen.
There may be a plot, but it's not the point, this is a love letter to actors from one of the best actor director and dialogs writer in the business, Bertrand Bier, son of Bernard, one of the best actors ever, has directed 20 movies to date, and worked with the best actors of his generation. He made Depardieu, Miou-Miou or Dewaere households names, he gave Alain Delon, Jeanne Moreau, or Michel Blanc their most unexpected roles, or gifted Michel Serrault, jean Carmet. Charlotte Gainsbourg, Josiane Balasko or Gérard Lanvin with their best lines ever.
So It is no surprise that everybody who was someone in french cinema in 2000 answered present to his call, at least on the male side, this is les "les acteurs", unfortunately he never got around to making "les actrices", From Delon to Dussolier, Belmondo to Brasseur, Depardieu to Marielle, Galabru to Brialy, Arditi, and so on... they are all here, deliciously self parodying their on screen persona, magnifying the very witty dialogs they're given, and even the ghosts of past greatness (gabin, ventura, Blier and Brasseur's fathers) are very sweetly and delicately called to the screen.
This is a singular gem, to be cherished by all cinema lovers, as it shall walk them through all their years of movie going and recall all the emotions they have had in from of a silver screen.
Les Acteurs or ...
writers_reign8 November 2005
Warning: Spoilers
... Hawk Heaven for lovers of French cinema and by extension French Screen actors/actresses. At its worst it's an indulgence, actors getting to bitch about other actors, question the validity of acting as a profession at all, etc whilst at its best it's a glorious celebration/send-up of some of the finest actors currently working. From a simple premise - Jean-Pierre Marielle's request for water being ignored in a restaurant - Blier spins off in all directions and allows the cream of French cinema to strut their stuff before the camera even throwing in nods to those no longer around (Jean Gabin, Lino Ventura) including the Director's father, Bernard, one of the great stalwarts of French cinema, from whom he fields a celestial phone call at the end of the film. Discursive and prolix, yes, guilty as charged but also something of a guilty pleasure.
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