I am a big fan of Fabrice Luchini. The joy of seeing one of his latest films was immense. I was quite surprised that Tristan Séguéla‘s ‘Un homme hereux‘ (2023) seems to have been seen by very few people. The theme of acceptance of different LGBT+ communities always risks generating controversy, and there are viewers who shun films that set or touch on this space. On the other hand, the cinematography of the world in general and the French one in particular has recorded numerous successes – including blockbusters, including comedies – with films of this kind. The common denominator of the successful films, however, was audacity. Addressing sensitive subjects requires courage on the part of screenwriters and directors, and if it is a comedy, taking the risk of offending, within the limits of good taste and avoiding cheap humor. This is exactly what is unfortunately missing in ‘Un homme hereux‘, but the film is still worth seeing. Not just for Fabrice Luchini.
The story takes place in a city in the north of France. Mayor Jean Leroy, a rather conservative 63 years old politician who opportunistically keeps his homophobic views to himself, decides to run for another term. Just then, his wife, Édith, informs him that … she has felt like a man all her life, that she is tired of hiding her sexual identity and that she has begun the process of physical transition from woman to man. The two decide to postpone the public announcement of the transition until after the election, so as not to disturb Jean’s image in the eyes of the town’s conservative electorate. As you might suspect, such a plan cannot be kept a secret for too long, neither from the couple’s three adult children, nor from residents and voters, in a world where everyone has eyes, ears, and especially cameras and mobile phones. The revelation will blow up the electoral plans and transform the mayor and those around him. Meanwhile Édith continues her transition to becoming Édy.
Need I mention that Fabrice Luchini is formidable and his every moment on screen is a delight? The same can be said about Catherine Frot who plays the role of Édith – Édy. The two practically support the film along with Philippe Katerine, a formidable actor himself who I’ve seen perform well in so many supporting roles that I can’t help but wait for the moment when a brave director gives him a big leading role. The problem is the script. Trying not to upset anyone, the story avoids any violent confrontation (like those that happen in reality) and blunts all the arrows of satire. The most successful scenes are those in the LGBT+ support group, where the ‘politically correct’ language of the community is ironized, but here too the excessive restraint is obvious. The feeling of missing out is amplified by the ending. The last 15 minutes seem to belong to the American remake and not the original film, with a very predictable breakup and reunion and a completely missed opportunity to generate more fun and satire based on the opposites of gender cross-dressing at the carnival. We are left with the image of Luchini‘s sad and lonely clown face at the end, but I have already praised him enough. ‘Un homme hereux‘ is a film too nice to be genuine.