Wonderful character development!

one of my absolute favorites!

This is a gorgeous movie made by a gorgeous spirit.

Great movie. Not sure what people expected but I found it highly entertaining.

Anyone who's been confounded by bureaucracy at work will know that it's no laughing matter. Indeed, it can be the most frustrating thing in the world when an obvious solution presents itself, but red tape or bungling co-workers insist on getting in the way. It's a lot funnier when someone else is suffering the quiet ignominy of office politics, however, as evidenced by sparkling - if occasionally tedious - French political farce Quai D'Orsay (The French Minister).The last thing Arthur Vlaminck (Raphaël Personnaz) expects is to get a phone call summoning him to an interview at the Ministry of Foreign Affairs (known colloquially as Quai D'Orsay due to its location on the left bank of the Seine). He meets Minister Alexandre Taillard de Worms (Thierry Lhermitte) in a whirlwind interview, and is sufficiently impressed to agree to join the ministry as a speechwriter. As he meets his new co-workers, including the Minister's long-suffering chief-of-staff, Claude (Niels Arestrup), Arthur begins to realise that his boss' public persona might not quite reflect his private concerns or capabilities.Anyone anticipating a grave, serious-minded look at the intricacies of French diplomacy should take note - Quai D'Orsay is really a raucous workplace comedy that happens to take place in the hallowed halls of the French Foreign Ministry. It's not that foreign affairs and public policy don't feature - they do. There's a ring of veracity to the proceedings, likely due to the fact that the film is based on the eponymous comic book by Antonin Baudry, which recounts his own experiences as a speechwriter for real-life Foreign Minister Dominique de Villepin.But the emphasis here is firmly on the comedy of the situation. Arthur's optimism begins to fade as he's plunged into workaday reality, much of which involves the minister's staff frantically fixing problems while he storms around in the background and screams truisms lifted wholesale from Greek philosopher Heraclitus. There's something almost tragic to Arthur's increasingly desperate attempts to write the perfect speech for Taillard de Worms - it goes through several iterations, the focus shifting (oftentimes nonsensically) as the minister's moods dance, sway and waltz away with logic and good sense. At every turn, Claude is frustrated in his noble efforts to ward off a crisis in Lousdemistan - a surrogate for Iraq - by bickering colleagues and the fretful fluttering of his foolish boss. The film is constructed firmly around Lhermitte's breathless and, ultimately, breathtaking performance. Taillard de Worms is a character who is, in effect, a human hurricane: he literally churns up paper flurries (and thereby makes a mess) whenever he enters a room, flinging out pompous statements in jogging shorts or dragging down a meeting with non sequiturs. A lesser actor would not have been able to play the minister's curious blend of insanity and incompetence - one which somehow works just well enough to make it credible that this character is somehiin power. But Lhermitte does so with flair to spare, whether Taillard de Worms is obsessively speechifying about the importance of yellow highlighters or terrorising a Nobel Laureate at lunch.While the film largely works quite well as a farce, Quai D'Orsay suffers somewhat in its editing. After a point, Arthur's travails and his encounters with Taillard de Worms grow repetitive and even tedious, particularly when the film nears the two-hour mark. That could be partly the point - imagine what it must really be like to live and work with someone like Taillard de Worms day after crazy day - but there's really only so much bumbling incompetence one can take before the comedy becomes a tragedy. Tavernier's film is smart and savvy in its satire but, like its main character, starts to grate on one's nerves the longer it belabours the same point.

In French culture, 'Quai D'Orsay" refers to French ministry of foreign affairs. It is also the name of a best selling comic book which has been adapted into a major film by veteran director Bertrand Tavernier. This is his first attempt at making a comedy film. He has not disappointed his loyal fans as "The French Minister" is able to make people laugh even when the film's theme appears to be serious. As a film 'The French minister' is largely autobiographical in nature as it is based on writer Antonin Baudry's experiences as a young trainee. In the past, he worked as a speech writer for former foreign minister of France Dominique De Villepin. Tavernier focuses on the mad world of politicians who use too much of academic rigor in order to deal with questions which need a pragmatic, practical approach. He shows that things are so bad at French foreign minister 'Alexandre Teilhard De Worms' office that one can quickly understand that a statement dictated in the morning would end up getting changed in the evening. The film mocks France's attempts to get involved in all major conflicts which happen in the world. It reveals that French government doesn't have proper strategies in place in order to deal with all the world's troubles. The laughter is assured as Tavernier doesn't hesitate a bit in showing the idiotic personalities of people working for French ministry of foreign affairs. Lastly, "The French Minister" displays its concern for genuineness by shooting its security council scenes at the actual UNO site.

Taking a break from the world of drama, and coming fresh off a 16th century period piece, Bertrand Tavernier tests his hand in the world of comedy. "The French Minister", adapted from the comic book "Quai d'Orsay", is a whimsical political satire, which never loses sight of its realist tendencies. A transparent parody of the US-Iraq conflict, substituting Iraq for the fictional country of Lousdemistan, "The French Minister" depicts the life of Arthur Vlaminck, the freshly hired speech writer for the French minister Alexandre Taillard de Worms. Throughout the film Arthur is consistently hurled through a sea of endless rewrites and bureaucratic minutia, all the while, balancing the verbose personalities of the diplomats with whom he is forced to work with.The film is an absolute pleasurable viewing experience that places the viewer in rapid succession of loosely connected vignettes. Lacking the typical story structure, the film rather invites the viewer into the world of diplomacy and bureaucracy, in a fashion that seems more circular than linear. One of Tavernier's strengths throughout the film is his ability to match the spaces in which the characters reside to the signification of their position in the bureaucratic machine. The circular nature of the narrative, and the spatial and temporal order Tavernier utilizes, comments of the ineffective, even comic, nature of bureaucracy.Contradiction and repetition form the basis for the film's humor, as Arthur is continually shuffled from room to room; failing to be able to distinguish advice from deception. Despite the clear notion that Arthur represents the film's main character, he remains vacant for large sequences. Further, in many of the scenes where Arthur and Alexendre appear together, Arthur's presence is completely dominated by the aura of Alexandre, allowing the viewer to disregard Arthur altogether. Similar to style of the great French filmmaker Jean Renoir, the film's absence of a strong central figure allows for the stronger analysis of a series of characters, each representing a larger part of society. In this manner, the audience is not forced into the psychology of any one character, but allowed to view all of the characters from a distanced space.Thierry Lhermitte's portrayal of Alexandre, paired with Tavernier's visual treatment, fashions a dynamic and dominating character. His narcissistic and pretentious attributes are equally matched by charisma and charm. Lhermitte's performance performs a similar overwhelming task on the audience, as his character does on Arthur. Likewise, through Tavernier's added elements of comic heightening, while farcical, remain grounded at all times in realism. Depicted as moving with such intensity that his entrances consistently cause stacks of paper to explode into a whirlwind of chaos, obsessing over highlighters to a point of absolute comic absurdity, and neurotically referring to his texts, Llhermitte's character is rife with humor.As a testament to the writing, the film requires no deep knowledge of the political workings of government, nor does it fail to seem applicable to US notions of government. Despite its intimate relation to French culture and politics, the film's comedy is universal. Requiring from the viewer only their attention span, "The French Minister" performs the rest of the work. Travernier's film is a humorous and imaginative romp just waiting to be discovered.Originally published via StageBuddy by Joe Yanick http://stagebuddy.com/film-TV/review-french-minister/

Legendary film director Bertrand Tavernier has completely changed register for his latest film, moving from the 16th century court of Charles IX of his last outing, La Princesse de Montpensier, to the corridors of the French foreign ministry with Quai d'Orsay based on the cult comic strip book of the same name. The book was co-produced by Antonin Baudry (writing under the pen name, Abel Lanzac), a young diplomat who worked as a speechwriter for former French foreign minister Dominique de Villepin. It has already enjoyed a huge critical success in France and this year took the prestigious best book prize at the annual comic strip festival in Angouleme. Quai d'Orsay draws on Baudry's experience of working with Villepin and his close knit circle of advisers and friends to depict a Kafkaesque world of confusing complexity deftly brought to the screen by Tavernier. Despite a career spanning nearly forty years, this is Tavernier's first venture into pure comedy. He has produced a film running at full tilt which weaves farce, burlesque, and fantasy into a tight, funny package that casts a sharp eye over the political machine without sliding into political satire.Raphael Personnaz is Arthur Vlaminck, a recent graduate from the highly prestigious Ecole Nationale d'Administration, which produces most of France's top politicians from both sides of the political fence. Although he doesn't fit the stereotype of a young diplomat with his shabby clothes and gauche manner, he is hired by the minister Alexandre Taillard de Vorms (Thierry L'Hermite) to work at the foreign ministry drafting speeches for the minister himself. His lack of previous political experience makes him an easy target for the power struggles and back- stabbing of the minister's support network of advisers and back room staff. And it's not long before he's spinning between the minister, his chief of staff (Niels Arestrup) and a cabal of hard- nosed technocrats. Gradually Arthur learns the skills he needs to survive and find his place in the cut-throat world of high-level international diplomacy.Translating what works on the written page to the big screen is a difficult task and Tavernier has plumped for the rhythm of the original comic strip, with one scene following another in quick succession. A couple of devices come straight from the comic strip format itself. Each time Vorms enters a room, for example, he is preceded by a gust of wind, a visual 'woosh', that sends books and papers flying and his language at times descends into childish invention. But Vorms is no fool. He is passionate about his role as foreign minister and is an exacting, if at times, slightly hysterical boss. L'Hermitte is perfectly cast as the academic, haughty minister who has the heart of a poet but not the talent. He shows a skill for comedy rarely exploited in recent years. One of the film's funniest scenes is a lecture by the minister to his staff on the importance of using a fluorescent pen to highlight a text delivered by l'Hermitte with just the right touch of insanity. Arestrup, as the faithful, world weary eminence grise, is the perfect counterpoint to the high-maintenance foreign minister and his Buddha-like presence often acts as a brake to stop the action from spinning out of control.The film ends with a speech delivered by Vorms/Villepin to the UN back in 2003, the only speech ever to have received a standing ovation from the other members of the organisation. It's a moving finale to a whirlwind, behind-the-scenes tour of French diplomacy. Although some of the scenes seem to stretch credibility, Villepin is said to have seen the film and reported that it doesn't go far enough!