Le Viager (1972) - film review

France, 1930. Louis Martinet, a 59 year old bachelor, learns from his doctor, Léon Galipeau, that he has only a few years left to live.  He has a house in a small village, St Tropez, in the south of France, but no income for his retirement.   Realising that Martinet has no family or friends, Galipeau sees this as an opportunity to acquire Martinet’s house cheaply.  He persuades his brother Emile to offer Martinet a “viager” contract, by which Emile gives Martinet a sum of money each year and, when Martinet dies, the house passes to the Galipeau family.  A lawyer recommends that the payment made to Martinet be index-linked to the price of aluminium.  In view of Martinet’s ill health, it looks as if the Galipeaus are on to a sure winner.  However, two years later, Martinet appears to be in the best of health, thriving in his new Mediterranean setting.  Even the scourge of World War II only appears to benefit Martinet, and, as the price of aluminium starts to soar, his income increases.  In the end, the Galipeau’s have had enough of Martinet’s unexpected longevity and decide to precipitate his demise – with unexpected consequences…

Le Viager is an enchanting morality tale wrapped up in the guise of an entertaining comedy, following the tradition of burlesque comic farce which became so popular in France in the 1960s.  With colourful characters – mostly unashamed French stereotypes (even down to the politician who cannot resist a photo-opportunity) – an amusing but easy-to-follow plot, a sparkling script which affords some genuine moments of hilarity, this is a rare example of a French comedy which would appeal as much to an English or American audience as to a French audience.  The film’s only fault, possibly, is that the comedy occasionally goes way over the top, sometimes with a forced campness which doesn’t quite seem appropriate.

What makes this film particularly memorable are the tirelessly amusing performances from the lead actors Michel Serrault and Michel Galabru, both well establish character actors with a penchant for comedy.  Galabru’s increasing desperation to dispose of Serrault, whilst the latter basks contentedly in his new-found good fortune (seeing the Galipeau’s only as benefactors, not the mercenaries they actually are), is as heart-warming as it is funny.  The appearance of  a young Claude Brasseur and an even younger Gerard Dépardieu at the end of the film is an unexpected treat, which goes down rather like a chocolate liqueur after a sumptuous main meal.

© James Travers 2001

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