Two figures plunge the viewer in medias res
at the start of Jacques Doillon’s quirky, genre-bending, romantic
comedy, Just Anybody. Barging out of a restaurant, Costa (a native of
these country parts) and Camille (a Parisienne who tags along with him)
are disputing a point of difference. They are threshing out a night gone
wrong, their first together: Costa sees it as consensual sex; Camille
sees it as rape. Yet Camille strangely sees a saving grace in him. For
the moment, Costa wants to rusticate and visit his young daughter, and
so just as soon, they part ways.
Following
Costa to his hometown of Le Crotoy, Camille encounters Cyril, a cop who
takes an instant romantic liking to her. They, too, get into a suddenly
elaborate conversation. With practiced deduction, Cyril reads between
the lines and concludes that Costa, a ‘nobody’ in these parts (a
euphemism for sure), raped Camille. It’s a potential ménage-a-trois that
is further complicated by Gwendoline, Costa’s long-suffering wife.
Along the way, there is an equally quirky array of characters that add
comic and cuckoo color to this film.
But
Just Anybody is not so much about quick couplings as it is about men
and women blundering their way into a proper niche, a sense of
redemption. Wrong-headed and deviant, they lead ill-advised lives that
seem to be headed nowhere. Seemingly patterned after Jim Jarmusch’s
menagerie of misfits, Doillon’s characters are embroiled in a farce that
features strange, uproarious, even recidivistic behaviour: a thug who
is actuated by chivalry, a cop who stalks a woman and yet refuses to
leverage his badge, an urban girl who aids and abets the thug.
Writer
and director Doillon depicts a sense of anomie in such a surprisingly
infectious and lighthearted manner. Costa commits one felony after
another, mugging and robbing his defenseless victims, but his acts seem
to be rationalized by some perverse notion of chivalry and
responsibility. Camille, who exhibits a measure of urban sophistication,
is not above overlooking and condoning Costa’s often shocking crimes.
It is she who goads Costa to raise some money, however tainted, as a
peace offering to his estranged wife and child for the many years of
neglect. Meanwhile, Cyril thinks it’s not undeserved and perhaps normal
-- the offshoot of the pursuit of love? -- to be blindsided by violence.
The characters are whacked, touched by a crooked sense of moral
ambiguity.
Title in English: Just Anybody
reviewed: June 9, 2010
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