Intouchables Music

[Marketta Filipovich]

Thisreflects his subtle interactions with Philippe and how he ultimately gets his friend to come to terms with his own reality. For Driss, Philippe has to let go of his sense of loss and insecurity and reach out to potentially meet the woman of his dreams.

In the same way, the film subtly plays up a conversation that has been a part of the classical music world, and especially opera world, over the last decade. Should we modernize productions so that they speak to an audience in newer and more relevant ways, even if they overlook the original intentions of their creators? Or do we preserve the original intentions and present the works on their own terms?

The film itself lacks the typical structure of most movies; conflict is subtle or completely overlooked in favor of a freer exploration of human life. The directors, Olivier Nakache and Eric Toledano, are almost questioning why a film needs to have tension or overriding conflict to be a film. Their overriding humanist approach with the film as a whole suggests that their mind is made up with regards to the best way to present opera.

Prior to creating OperaWire, DAVID SALAZAR, (Editor-in-Chief) worked as a reporter for Latin Post where he interviewed major opera stars including Placido Domingo, Anna Netrebko, Vittorio Grigolo, Diana Damrau and Rolando Villazon among others. His 2014 interview with opera star Kristine Opolais was cited in a New York Times Review.

Or, even better, a dialog as Driss shaves of Philippe mourning beard (after Driss had left for a while to take care of family responsibilities, and Phillipe had to hire one after the other new care taker, and finally got so depressed that the housekeeper called Driss in:

By contrast, sounds of spoken dialogue (or narration by a character in the story), natural sound effects matchingsources seen on the screen, and any music that is being performed or heard by characters in the story is called diegetic.

Sound affects any scene that warrants it a form of realism that is needed in order to transform the viewer into these other world that movies play in. For example, when Driss roars the engine of Phillipes Maserati, the audience expects to hear a sound that conveys luxury, high horse power motor.

If sound was to be entirely removed from this portion of the movie, we all would miss out on the extended elation, that the soundtrack and score does add. If other music had been chosen, it would have to been very, very similar to achieve the same effect as this composition does. That is my opinion.

Nine weeks after its release in France on 2 November 2011, it became the second highest-grossing French film in France, after the 2008 film Welcome to the Sticks.[5] The film was voted the cultural event of 2011 in France with 52% of votes in a poll by Fnac.[6] Until it was eclipsed in 2014 by Lucy, it was the most-viewed French film in the world with 51.5 million tickets sold.[7]

At night in Paris, Driss is driving Philippe's Maserati Quattroporte at high speed. Chased through the streets by the police, they are eventually cornered. Driss claims the quadriplegic Philippe must get to the emergency room urgently; Philippe pretends to have a seizure and the fooled police officers escort them. After arriving at the hospital, Driss drives away.

The story of friendship between the two men is then told as a flashback: Philippe, a wealthy quadriplegic owner of a luxurious htel particulier, and his assistant Magalie are interviewing potential live-in caregivers. Driss has no ambitions to get hired; he is only waiting to get a signature on a document proving his interview was rejected, in order to continue receiving his benefits. He is told to come back the next morning to collect his signed document.

The next day when Driss returns, Philippe's aide Yvonne greets him, telling him he has the job on a trial basis. Despite being uninterested and inexperienced, he does well caring for Philippe, albeit using unconventional methods. Driss learns the extent of his employer's disability, aiding Philippe in every aspect of his life. A friend of Philippe's reveals that Driss was imprisoned for six months for robbery, but Philippe does not care about Driss's past. As Driss is the only one who does not treat Philippe with pity, he will not fire Driss as long as he does his job properly.

Philippe explains his disability resulted from a paragliding incident and that his wife died without bearing children. Gradually, Driss helps him to organise his private life, despite having problems with his adopted daughter Elisa. Driss discovers modern art, opera and starts painting. For Philippe's birthday, a private classical music concert is performed in his living room. Philippe educates Driss on famous classical pieces, but Driss only recognizes them as advert music or cartoon themes. Feeling the concert is too boring, Driss plays Earth, Wind & Fire's "Boogie Wonderland", livening up the party, with the guests also enjoying the music.

Discovering Philippe has a purely epistolary relationship with a woman called Elonore who lives in Dunkirk, Driss encourages his employer to meet her, but Philippe fears her reaction when she discovers his disability. Driss persuades him to talk to her by phone. Philippe agrees to send a photo of himself in a wheelchair to her, but he hesitates and asks his aide, Yvonne, to send a picture as he was before his accident. A date between them is agreed to, but at the last minute Philippe is too scared to meet Elonore and leaves with Yvonne before she arrives. Philippe then calls Driss, inviting him to fly with him in his Dassault Falcon 900 private jet for a paragliding weekend in the Alps.

Driss's cousin, Adam, in trouble with a gang, comes to fetch Driss at the mansion on the pretext of delivering mail. Overhearing, Philippe recognizes Driss's need to be supportive to his family and releases him from his job, suggesting he may not want to push a wheelchair all his life.

Driss returns home, joins his friends and manages to help his cousin. In the meantime new caregivers have replaced Driss but Philippe is not happy with any of them. His morale is very low and he stops taking care of himself. He grows a beard and looks ill. Worried, Yvonne calls Driss back.

Upon arrival Driss drives Philippe in the Maserati, which brings the story back to the initial police chase. After they elude the police, Driss takes Philippe to the seaside. Once Philippe has shaved and dressed, they arrive at a Cabourg restaurant on the sea front. Driss suddenly leaves the table, saying good luck to Philippe on his lunch date. A few seconds later Elonore arrives. Emotionally touched, Philippe looks through the window and sees Driss outside, smiling at him. Driss bids Philippe farewell and walks away as Phillipe and Elonore chat and enjoy each other's company.

The film ends with shots of Philippe Pozzo di Borgo and Abdel Sellou, the people on whom the story is based, together on a hillside, reminiscent of the paragliding scene earlier in the film. The closing caption states that the men remain close friends to this day.

The film received mostly positive reviews from critics and holds a 75% approval rating at the film review aggregation site Rotten Tomatoes, based on 122 reviews, and an average score of 6.7/10. The consensus states, "It handles its potentially prickly subject matter with kid gloves, but Intouchables gets by thanks to its strong cast and some remarkably sensitive direction."[9] On Metacritic, the film has a score of 57 out of 100, based on 31 ratings of professional critics.[10] Audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[11]

The film won the Tokyo Sakura Grand Prix award given to the best film at the Tokyo International Film Festival and the Award for Best Actor to both Francois Cluzet and Omar Sy[14] in 2011. At the Csar Awards 2012, the film received eight nominations.[15] Omar Sy received the Csar Award for Best Actor on 24 February 2012 for the role of Driss (defeating Jean Dujardin, nominated for The Artist) and being the first French African actor to receive this honor.[16]

In September 2012, it was announced that The Intouchables had been selected as the French entry for the Best Foreign Language Oscar for the 85th Academy Awards.[17] In December 2012, it made the January shortlist,[18] but was ultimately not selected for inclusion among the final nominees.

The film has also done well in several other European countries, topping charts in Germany for nine consecutive weeks, Switzerland for eleven weeks, Austria for six weeks, Poland for three weeks, and Italy, Spain and Belgium for one week, as of 20 May 2012.[42]

In the United Kingdom, it was 2013's second best-selling foreign language film on physical home video formats, second only to the Indonesian action film The Raid.[122] It was later the UK's ninth best-selling foreign language film of 2016, and second best-selling French film (behind Victor Young Perez).[123]

In 2015 it was announced that Vamsi Paidipally would be directing an Indian adaptation titled Oopiri, which was a bilingual film simultaneously shot and released in both Telugu and Tamil as Thozha. Both versions stars Karthi and Nagarjuna as its male leads.[124][125] They were released on 25 March 2016.[126]

In 2014, rights to The Intouchables were sold to Bollywood filmmakers Karan Johar and Guneet Monga.[127] Johar's Dharma Productions and Monga's Sikhya Entertainment announced that they would produce a Hindi remake, which would be directed by Mohit Suri.[128] In October 2023, Collin D'Cunha was reported to be the director.[129]

In July 2011, in addition to acquiring distribution rights in English-speaking countries, Scandinavian countries and China, The Weinstein Company acquired the rights to remake The Intouchables in English.[131] In June 2012, Paul Feig was slated to direct and write the script, with Chris Rock, Jamie Foxx and Idris Elba eyed for the role of Abdel, Colin Firth in talks for Phillip, and Jessica Chastain and Michelle Williams considered for a female lead.[132]

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