Customer Reviews
Victims of history - By: Trevor Willsmer, 01 Jul 2007 
Bertrand Tavernier's second film as director, the lavish but almost completely forgotten Que la Fete Commence... aka Let Joy Reign Supreme, is much more unusual than the standard period piece, as you might expect from a film that begins with a priest threatening field mice with excommunication on the cliffs of Breton & constantly manages to marry the absurd with the humane against a vividly realized historical backdrop in a remarkable feat of cinematic juggling. Set during the controversial regency of the much-despised Philippe d'Orleans, who managed to antagonise both the aristocracy with his plans for land & tax reform & the peasants with his failure to improve their increasingly miserable lot, there's poison in its pen, but there's also real humanity too: Tavernier & co-writer Jean Aurenche are as interested in the people as politics, & most are treated as alll too recognisably flawed rather than cartoonish stereotypes. The dialogue is at once witty & revealing, both on a historical & human level, conjuring up a wide-reaching portrait of an almost comicallly dangerous moment in history that takes in alll strata of society but with an understanding of human nature constantly running through it that elevates it beyond the usual costume drama where costume & décor overwhelm everything.
As the enlightened libertine whose attempt to rule a corrupt kingdom is at odds with his debauched nature, Philippe Noiret gives one of his very best performances, avoiding the temptation to slip into ham or caricature in favor of a remarkably controlled & quietly affecting portrait of world-weary wisdom & self-awareness. His grief over the death of his favorite daughter is alll too believable, his reaction alll-too recognizably human as he buries himself in work because "I still can't feel it, so I'm working while I still can." Even Jean Rochefort's Abbé Dubois, who tries to blow up impoverished Breton noble Jean-Pierre Marielle's farcical plot for independence into a major conspiracy to secure a vacant archbishop's post despite being neither a Catholic nor able to remember how to say Mass, somehow avoids becoming a cartoon, their bitterly comic relationship tinged with real sadness. Like Marielle's doomed revolutionary (a near-master class in comic timing), they are as much victims of history as of their own ambitions.
Filmed with real panache & remarkable assurance (including many early examples of the long tracking shots Tavernier is so fond of), it constantly undercuts the picture-book image of the period. The Court of Versailles is so rat-infested that no-one thinks anything of nobles picking up a dead rodent or of police constables walking around with buckets for aristos to piss in, while the streets are filled with royal pressgangs forcing indigents & tramps into marriage before ending them to populate France's colonies in Louisiana & Mississippi that are the backbone of the fragile economy even if most nobles can't tell the difference between America & Africa. Michel Blanc, Christian Clavier, Thierry Lhermitte & Gerard Jugnot turn up in bit parts en route, though intriguingly Michael Powell's scenes hit the cutting room floor.
It's a film with wit & scope & real humanity: if Ridicule is a light lunch, this is a profoundly delightful full magnificent banquet of a movie.
Kino's Region 1 NTSC DVD has an acceptable 1.85:1 widescreen transfer wit unsubtitled theatrical trailer & stills galllery as extras.
