betty dalton Man wants to kill himself over his broken heart caused by a girl who left him. This suicidal man gets saved by another man who unfortunately falls in love with the woman who caused the broken heart of the suicidal man.Daniel Autteuil, if you havent heard of the man, he is one of the most popular and acclaimed actors in France since decades. A sort of thinner version of Gerard Depardieu. If you have never heard of Depardieu either then just jump in and watch this lovely french comedy. It is hilarious from beginning to end. One of my most favorite comedies ever. I must have seen it dozens of times by now and the jokes stay fresh.Wnat makes "Apres Vous" special is the excellent acting which make the characters to die for. I just love these characters who stumble, fall and climb up again, all struggling with a broken heart and fortunately they fall in love again. An hilariously feelgood comedy. Big hit in Europe. Modern comedy classic.

johnnyboyz After You... is your more Hollywoodised French farce; a concept comedy driven by offbeat, eccentric encounters imbued with the topic of love or with the issue of fondness for another human being; primarily between two male leads of binary opposition whose lives unceremoniously clash for our amusement. The Hollywoodised impression is omnipresent throughout, and its sense of prominence goes right down to the fact that at one point it opts for the old "numerous parties at a restaurant" scenario, a situation in which one character is 'in' on the entire gag as the presence of certain others and their own parties at a restaurant threaten to ruin everything that has preceded this perilous point. I think this may be one of the few French film to ever take its lead, in terms of its comedy source, from an American picture along the lines of something like Mrs. Doubtfire.In spite of this, the film is not without a certain charm; the politic of the thing, always a sure sign of how rotten the hearts of the makers are, appear to just about eventually slot into the right places – indeed, it might have a been a sure sight worse. Where we don't believe in any of the characters as being of a nature that resembles much more than that of 'stock', we enjoy the perilous mix up of emotions and expressions which certain characters therein begin to feel themselves torn toward; the bulk of it resulting in an often amusing, lightly played cocktail of chaos. If the later scenes rely on the drawn-out-to-some, aforementioned restaurant scenario of whoever threatening to stumble upon whatever, then it is at least to the film's credit we fear the looming revelations.The film follows that of Antoine Letoux, a headwaiter at an expensive seafood restaurant played by acting stalwart Daniel Auteuil, and the complications born out of his saving of a man from suicide and bringing him into his life. Letoux is busy at his job when we first see him, leading a chaotic working existence seeing to several tables and helping several customers, practically all at once. We draw on the conclusion he's rather apt at balancing several things at once, something which will crucially come into play later on, but a border-line obsessive at what he does to the point that he substitutes getting away on time to a date with his girlfriend, Marilyne Canto's Christine, purely so as to attend to another table in need. The song playing over these images, indeed an overtune of sorts overbearing the opening credits and thus engulfing the rest of the film, alludes to an individual leaning towards impending disaster as they journey, although perhaps not necessarily being as bothered about it as one would expect. Letoux's situation, you might say, is representative of these lyrics, the man careening down the rocky road he's on towards trouble; strife and disaster: Pierre Salvadori's film a capturing of this chapter and all of the comic shenanigans than come with it.On the way home from the workplace, a shortcut through a park to hasten a rendez-vous, the excursion sees him stumble across that aforementioned attempted suicidee. He is Louis (García), a man saved from a hanging and as a consequence taken in by Letoux so as to be helped. As individuals, the two men could not be much in the way of further apart; Letoux's measured, in-tune demeanour and somewhat older age standing in contrast to that of Louis' very often still, often stilted body-language which goes hand in hand with this younger man's tendency to stare off into space at whatever opportunity. Letoux, established to be living life in his nice apartment with a thus-far healthy relationship, goes against Louis' wandering, drifting situation and dilapidated marital capacity with that of later player of greater prominence Blanche (Kiberlain), something that led him to attempt death in the first place.A wily tale is spun out of these beginnings. Where most Hollywood movies of this ilk arrive with common complaints in the form of why it is that a certain female has either spent the time she has with our lead, or is indeed continuing to spend the amount of time with him; Christine's eventual departure from proceedings after the placement of her and her relationship with the lead second to his work, and with certain others, is a refreshing breaking away from seemingly ill-minded tradition. This is out of Letoux's bonding with Louis, and his gradual desiring of Blanche; a commonplace florist looking to marry another man after the attempt at infiltrating her life in the style of a private-investigator so as to garner answers for Louis. The film gets a little muddled as it proceeds with its narrative, which it entangles itself in a little more than is required; the film is probably twenty or so minutes too long and while there are laughs, the gaps between them are longer than is desired. Letoux's Samaritan act makes for good value and Auteuil rises to the material making it far more watchable than it might have been. The film thinks it's a lot more dramatic than it is; the reconstruction of Louis' life at the hands of Letoux and his own affections towards another woman make for rather sensitive subject matter causing the film to splutter in where its priorities lie in regards to telling a situational farce or a humble piece about a man's deep feelings, but there is enough, if not an awful lot, to enjoy although nary a great deal to feel totally dispassionate about, in what is a wavy but effective comedy.

ExpendableMan Remember that Owen Wilson movie You, Me And Dupree that came out a couple of summers ago where a bloke moves in with a young couple and inadvertently ruins their lives? Well, imagine if instead of a laid back surf slacker he was a depressed and desperate man on the verge of killing himself and you'd have something similar to Apres Vous, where a simple good deed leads to all manner of disasters.It begins when Antoine (Daniel Auteuil), an over-worked head waiter at an exclusive restaurant takes a short cut through a park on the way to meet his long-suffering girlfriend. Along the way, he comes across Louis (Jose Garcia) attempting to hang himself from a tree and promptly rescues him. Taking pity on him, Antoine invites Louis to stay with him and his girlfriend for a while until he can get back on his feet. This act of kindness however inadvertently opens the door for all sorts of social disasters, especially when Antoine takes it upon himself to reconcile Louis with his ex-girlfriend Blanche...The result is one incredibly funny, if occasionally rather sad film. As Louis and Antoine blunder from one mishap to another the laughs come thick and fast, not least of all when they give Louis's blind grandmother a lift in Antoine's car without her knowing her grandson is on the back seat, but the comedy is also finely balanced by a dose of sentimentality. Thankfully, it's not heavy handed, but sometimes when Louis is wandering around with sadness etched on his features it's hard not to feel sorry for him. It pays off though, his transformation from a rather pathetic little boy into the cool, confident and professional restaurant wine expert is incredibly uplifting and should raise a smile to even the most hardened cynic's face.The star of the film though is definitely Antoine. Daniel Auteuil's performance is nothing short of spot on, imbuing his character with a mixture of everyday charm and a tendency to blunder into cack-handed stupidity. As events pile up on him in a Basil-Fawlty style string of calamity, his good nature and enthusiasm make him a very likable comic hero indeed.Fans of screwball comedy then will be in hog's heaven. It may be geared more towards those who understand the French sense of humour, but fans of Fawlty Towers, Meet the Parents/Fockers and Cary Grant's farcical romps from the 1940s should find plenty to keep them entertained.

dbdumonteil Antoine (Daniel Auteuil) is a head waiter in a chic Parisian restaurant and lives with his girlfriend Christine (Marilyne Canto). His work occupies a lot of place in his life. One evening, by going through a park to be more quickly at his apartment, he saves from suicide a neurotic man Louis (José Garcia). After vainly attempted to take him back to his close relatives, he takes him under his wing and succeeds to find him a job as a waiter in his workplace. Louis wanted to kill himself because his love affair with his ex girlfriend Blanche (Sandrine Kiberlain) went unravel. Antoine found her again because he wants to reconcile them again. She's a charming florist and, you guess it he becomes enamored of her. From then onwards, his well-ordered life starts to showcase signs of poor running.I'm a little surprised but glad to discover that this little high charged, hilarious comedy enjoys a small reputation abroad. About twenty reviews have already been posted for this film and most of them gave the movie thumbs up. I will post another positive one in spite of minor flaws Pierre Salvadori's film showcases.Some will be probably surprised but the outset reminded me of Jean Renoir's classic "Boudu Sauvé Des Eaux" (1932), perhaps because of the quite prestigious situation the main protagonists of the films occupy and maybe also because they save from suicide ill-fated men who are cracking up. And then, the saved ones immerse themselves in their rescuers' lives and disrupt their living environment. But although both movies are comedies, they don't belong to the same sub-category. Pierre Salvadori preferred not to follow the steps of the master which bestowed his own work with a strong social satire whiff. There's no trace of it in "Après Vous", although there may be an inkling of it in the following sequence: when Antoine takes Louis in the cellar and shows him the names of the different wines. Louis is afraid not to recognize the right wines and I think that Antoine answers him the customers ape the connoisseurs and don't know anything about wines. The director preferred to choose the road of the sentimental comedy and to especially focus on Antoine's turbulent love life.Pierre Salvadori commands his film at arm's length and delays the most momentous moment of the movie (the meeting between Louis and Blanche) to better linger on Louis' new life and especially on Antoine's love trouble. In a way, by making Louis work in his restaurant, by undertaking to reconcile him with Blanche and unfortunately by having a crush on her, he is a victim of his generosity. And Louis doesn't really realize the situations in which he puts Antoine. There's a funny sequence around the beginning of the film during which Antoine is at Louis' grandmother's and tries to alter Louis' suicide note in a placating, comforting letter. Then, deep down inside him, he thinks of leaving his ex girlfriend to live with Blanche and has to lie to his protégé and circle not to arouse suspicion about his real motivations. The movie becomes very enjoyable when it accumulates misunderstandings and embarrassing situations linked with Louis' job as a waiter or Antoine's sentimental trouble which the latter tries to escape by hilarious means (check the sequences in the Chinese restaurant). The scenario is also interspersed with droll lines: "how do you find the chicken? Dead".A threesome of actors serves the film. Daniel Auteuil is able to provide enough caliber to his character to watch the film until the tail end and I would like to congratulate the user "writer's reign" for the tasty pun he inserted in his review: "maitre d'Auteuil". José Garcia who earlier showed in his career that he could hold comical as well as dramatic roles (Philippe Harel's "Extension Du Domaine De la Lutte, 1999) shines as the neurotic, wound up Louis, indirectly responsible of Antoine's mishaps. At last, Sandrine Kiberlain, a little frail, naive but the director never ridicules her. She was ideally cast as Blanche. In French, this name is also an adjective which means white and the actress has a somewhat pallid face which suits well to both the name and the personality of her character.If the director honed his work with a palpable painstaking care for much of his work, there are little setbacks towards the end of the road. The end is thoroughly unexpected but was made in a rush and the trick of the lighter has been seen many times before. But these flaws aren't major enough to reject Salvadori's film. So, "Après Vous" and enjoy your film!