FRENCH TWIST, a droll, uneven comedy from writer/director Josiane Blasko, starts fast and ends slow. In between, it offers more than a few double entendres, some farcical slapstick, and satirical jabs at the traditional male/female double standard and homophobia. With bright, endearing performances by Victoria Abril and Blasko herself, and a game effort by Alain Chabat to infuse his two-timing creep of a husband with humanity, acting is not among FRENCH TWIST's weak points. Plotting, on the other hand, definitely is.
Loli (Abril) and Laurent (Chabet) don't have a perfect marriage, even though, on the surface, they seem happy enough. Laurent is a compulsive philanderer who has so many extra-marital liaisons that he has to keep looking at his watch to make sure he doesn't miss one. While Loli is blissfully unaware of the reasons for her husband's inattentiveness, she is becoming frustrated. Enter Marijo (Blasko), a self-proclaimed dyke who is immediately attracted to Loli. What follows is Laurent's worst nightmare, as he discovers that not only is his wife cheating on him, but she's doing so with another woman.
For the better part of an hour, this is a fresh, engaging comedy that mixes its laughs with unforced social commentary. The actors interact effectively, creating an ingenious triangle that always has one of its three components disconnected. Unfortunately, around the time FRENCH TWIST reaches its midpoint, it starts to unravel. The second half moves turgidly, re-tilling ground already covered. When, eighty minutes into the film, Marijo comments that "the game's not over. There are three periods," we're of the opinion that proceedings have long since moved into overtime.
Laurent is the classic cheating husband -- it's okay for him to have affairs (because he's a man), but his wife must be faithful. Laurent applies a similar double standard to other things. For example, a dirty joke told by a man is funny, but, told by a woman, it's vulgar. He's a homophobe, as well, which makes Loli's decision to take a woman lover a double blow to his ego. The "sauce for the goose" scenario is always an enjoyable conceit, and that's doubly true here because Laurent is brimming over with hypocritical self-righteousness. Blasko enjoys skewering his "macho" attitudes, and this aspect of her script is easily the most satisfying.
Although Blasko tries to retain her characters' humanity, the over-the- top humor occasionally leeches it away. Laurent is never particularly likable, and, despite Chabet's best attempts, he doesn't develop believably into anything more substantial than an intolerant caricature. Loli and Marijo are better rounded, but there are times when even they strike a wrong chord. Sometimes these scenes are funny, but they always disturb FRENCH TWIST's balance between overt comedy and light drama.
Taking any part of FRENCH TWIST too seriously would be a mistake, even though the film has a clear social agenda. Sixty minutes in, we're entertained, and Blasko is succeeding. Half an hour later, the appeal is dwindling and we're waiting for the end credits. Considering this film's erratic nature, it's difficult to fathom why the French government chose it as their official entry into the Oscar race instead of the vastly-superior LES MISERABLES. The two aren't comparable, so perhaps the decision in favor of Blasko's middling picture is the real French twist -- and not a very laudable one, at that.
