Le Huitième jour (1996) - film review

Harry is a successful businessman who is having a mid-life crisis. His wife has left him, taking their two children, and his working life lacks fulfilment.  He is on the brink of suicide when he runs into Georges, a Downs syndrome sufferer.  Georges has just walked out of a nursing home where he was placed by his sister after the death of his mother, four years previously.  At first, Harry does not know to do with Georges, who has taken an instant liking to him.  Then, despite his initial prejudices, Harry discovers in Georges a special friendship which magically repairs all of the damage in his life...

In 1996, Belgian director Jaco van Dormael followed his success with Toto le héros with this emotional roller coaster of a film. Le Huitième jour confronts the prejudices which modern society has in abundance for disabled people in a light-hearted yet respectful manner.  It is a magical film, full of genuine sentiment and meaning, perhaps a little contrived in places, but nonetheless an entertaining and poignant piece of cinema.

The film stars Daniel Auteuil and Pascal Duquenne, a perfect pairing which could not have been surpassed, and it should come as little surprise that the two actors were jointly awarded the Best Actor award at Cannes in 1996.

Auteuil is a very popular French actor made famous by his stunning performances in such films as Jean de Florette, La Séparation and Un coeur en hiver .  His performance as the stressed out executive in Le Huitième jour is amongst his finest, intensely moving yet, at the same time, showing a comic brilliance rarely seen in serious actors. His co-star, the experimental Belgian actor Pascal Duquenne, is no less impressive.  Himself a Down syndrome sufferer, Duquenne is captivating, to the point that the spectator ultimately sees the world through his eyes, sharing his conflicting senses of rapture and frustration at what the world offers.

With some impressive photography, an incredible musical score and some truly remarkable visual stunts (including a singing mouse and an ant disappearing up a vacuum cleaner), the spectator never has time to get bored with what is on offer.  The film’s ending (with its over-the-top Dennis Potter finale) is a little disappointing, showing a surprising lack of  imagination on the part of van Dormael.  Apart from that, this is a film which has much to commend it and, whilst perhaps lacking depth and maturity, it does leave a lasting impression.

© James Travers 2000

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