无巧不成婚

老实说就这样的烂片名，路过一百回我都不会点开看，但今天偏偏就看了。一开篇就吸引我了。一场安排在17世纪法国城堡里的糟糕婚宴，几乎就是今天法国社会的缩影。当然这不是重点，重点在于它温情大于讽刺。搞笑手段很简单：表演造作。造作是演技低劣的代名词，也能拿来表演？当然能！星爷已经为我们表演了那么多年，大家很喜欢啊。不过该片的尺度要比星爷小得多，经常是笑在心里。

婚庆公司老板带着手下一帮不靠谱的伙计，把一场婚礼搞得是状况频出啊。一个婚庆团队各自为战，好像怎么协调也撮不到一块去，婚礼过程中总是纰漏不断，老板马克斯只能一次次的亡羊补牢，弄得自己焦头烂额。 最终在烟花乱飞、新郎挂在气球上不知去向的情况下，马克斯终于再也忍无可忍了，彻底爆点了，把所有怪咖员工都数落了一顿。在眼看公司就要砸了的现状下，黯然神伤的一个人坐在了台阶上，好友加最不靠谱的摄影师朋友的安慰下也无济于事。就在他情绪最低落时，怪咖员工们集思广益，终于团结在一起克服自己造成的难题。还别说，一帮不靠谱的人认真起来，还真是八仙过海各显神通啊，不仅力挽狂澜，而且让雇主在一直不太满意的态度下来了个180度大转弯，对他们最后急中生智的设计大加赞赏啊。可谓是山重水复疑无路，柳暗花明又一村啊！！！

结婚确实是让人有点手忙脚乱，而且容易状况频出。所以不求完美，只求顺顺利利，就已经非常好了，都是经验之谈啊哈哈哈哈。

法国人的幽默方式给人感觉很凌乱，神经上总是少根筋，好像做什么事都很难认真起来，就像大师路易斯德菲奈斯的《虎口脱险》一样，明明很严肃的指挥家形象，但他那严肃的表情一开口总给人感觉是那么神经质的俏皮嘿嘿！！！

麦克斯是一家小婚庆公司的老板，他接了一个大单要在世纪城堡里策划一场婚礼。新郎是一个难缠的客户，要求很高。

为了搞好婚礼麦克斯团队一大早就来布置现场。麦克斯手下的人个个是“人才”，“身怀绝技”主管阿黛尔更是脾气暴躁，一言不合就开骂，筹备工作刚开始就跟DJ詹姆斯为了用电吵得不可开交，詹姆斯做事我行我素，连新郎的要求都置之不理，作为老板的麦克斯愁的头发都掉光了。

麦克斯因为人手不够让自己的小舅子朱利安顶个工，天晓得新娘是朱利安的梦中情人，在筹备期间朱利安公然追求起了新娘！

法国最差劲的摄影师盖伊和麦克斯是好朋友，可是盖伊在现场到处打酱油无所事事。

麦克斯在慌乱的筹备工作中解决了一个又一个问题。终于婚礼开始了，晚餐主食又出现了问题，由于停电导致肉类全部变质无法食用。麦克斯只好启动应急方案用酥皮饼加盐加汽水先给客人填饱肚子，自己又赶去别的餐馆搞食材。

晚餐问题勉强解决了，到了新郎发言的时候，新郎真是知无不言，一讲就是三个小时，客人们都昏昏欲睡。DJ为了渲染气氛让全场挥起了白毛巾使新郎十分反感。

婚礼继续进行，新郎准备了一个大招，准备了一个超大的月亮气球，加上排练好的动作亮瞎了全场，正当高潮迭起的时候负责给气球拉绳的阿黛尔和詹姆斯擦出了爱火花不顾一切的拥吻在一起，完全忘了气球的事，就这样新郎飞走了......

原本准备的烟花被逗比员工操作失误全部点燃，并引起了断电......婚礼彻底搞砸了！面对失败的婚礼麦克斯终于忍不住爆发了，把所有的怨气都宣泄了出来。麦克斯准备撒手不管了，默默地走开。

当麦克斯再次回到婚礼现场的时候发现客人居然都没走，新郎新娘居然其乐融融的在跳舞。原来是麦克斯手下的员工在黑暗里点起蜡烛，演奏起了异域风格的音乐，大家欢快的在一起舞蹈，忘掉了所有的不快。

新娘对婚礼的整个安排赞赏有佳，表示是最难忘的婚礼。一切都圆满了，所有人都幸福了。

法式轻喜剧像水波一样柔软。一堆工人阶级有着自己所谓人生哲学，个性鲜明的，以及高度个人化的独立价值观。温馨可爱的幽默包袱，浪漫的爱情，大反转是一个月亮大气球。

杂乱无章的筹备现场，漏洞百出。一出出喜怒哀乐的人生，处处是生活，处处是伏笔。一团乱麻的冲突后最终又顺理成章，人生就像是一个黑色幽默，总是不断的遇到问题解决问题。

法式幽默点到为止，没有爆笑，只有浅笑。起起伏伏，酸甜苦辣才是生活，我们的确没有时间哭泣，我们只有大笑着面对自己的人生！

细火慢炖的温情喜剧 还带点小讽刺。如今我眼里的喜剧已经不是能让人捧腹大笑满场包袱乱抖的那种了，而是摇了摇头却满含笑意。居然是《触不可及》的导演 在烛火中的后半段 真是既温暖又有情意了。/

“我想给自己留点退路”“那位退路是谁 我认识么”/

想起偎研吾的那句话，大概是说如果间房子处在阴暗处就不要费力制造阳光，阴暗自有阴暗的美。很多事情都是这样，随它去吧，意料之中的都不会太惊喜，就像女人的美，精心雕琢的有时偏不如毫不费力的/

人是享乐的动物怎么会不懂该如何给自己找乐子呢/

“马克斯和乔西安在一起了么”“是，但是所有人都装不知道”“为什么”“这就是法国，你要好好融入。”/

继高分神片"触不可及 "之后，奥利维埃·纳卡什与埃里克·托莱达诺两位法国导演合作执导的又一部法式温情喜剧：满是灾难的婚礼筹备，漏洞百出的活动现场，加上一个温馨收尾的意外结局...暖心而励志。混杂着锅盖打蛋器调料罐奏出一首不眠之曲。此刻乐器不再有区别，欢乐不再分雅俗，成员不再分贵贱。

Pivoting around a wedding day at a 17th century chateau, C’EST LA VIE! is a contemporary French comedy from the filmmaker-duo Olivier Nakache and Éric Toledano, the talents behind such global hits like THE INTOUCHABLES (2011) and SAMBA (2014), so the credentials are high.

In the center of this particularly hectic day is the seasoned wedding planner/caterer Max Angély (Bacri), who is experiencing a common middle-age crisis, both his marriage and his affair with Josiane (Clément), one of his assistants, hit a hiatus; on the professional side, it destines to be a long day for anyone involved, as hiccups crop up incessantly among his staff, the magisterial demand of the bridegroom Pierre (Lavernhe), and technical problems like the overloaded electricity and an unpremeditated food poison situation.

For what it is worth, Nakache and Toledano strenuously and cunningly condenses the current society into this microcosmic activity, where each character is imbued with distinct personality to cover the whole scope of human foibles, the hotheaded, potty-mouthed chief assistant Adèle (Haidara), is always at loggerheads with the pompous DJ James (Lellouche), a substitute who cannot get the approval of the payer; waiter Julien (Macaigne), also Max’s brother-in-law and a compulsory grammar corrector (he was a teacher before), finds out the bride Héléna (Chemla) is an old acquaintance he carries a torch for, to save face, he pretends to be one of the wedding guests, but his 17th costume, in which every waiter is requested to be attired, is a dead giveaway; also among the outfit is the eccentric wedding photographer Guy (Rouve), who roundly loathes the ubiquity of cellphone shutterbugs, and his high school apprentice Bastien (Naccache), eventually what plays out is that the former has much to learn from the technology-savvy latter.

Racial inclusivity is well homogenized into the plot as well, among Max’s staff, several of them are illegally employed (an opportunity let Max blow off steam on the government’s unsupportive policy towards boutique business), most of them are Pakistani immigrants, and the script shows up their hidden talents as a surprising tonic to invigorate the feeling of nadir into a raga-infused, candle-lit celebration with utter delight.

While the typical Gallic irony is registered with both persuasion and funny bone (Pierre’s airborne stunt is both romantic and sheer ridiculous), DP David Chizallet’s freewheeling camera that doggedly follows each character in close range is another wow factor, in conjunction with the ensemble’s engaging, witty and faux-spontaneous reactions, the whole package is almost irresistible, if Nakache and Toledano could have shucked off most of the corny tropes (opposites attract is such a bromide, for starters).

Fielding interminable hitches with a melange of wan resignation and suppressed irritation, Bacri is a sterling performer in inhabiting Max’s plight when he is driven on the orbit towards a breakdown by all the heterogeneous accidents and blunders, but never loses his presence of mind even when the plot suggests so, and among its vast supporting players, surprisingly it is Lavernhe who stands out for so competently transubstantiates obnoxiousness into something is equally droll and disarming, at the end of the day, even the sorry sentiment we feel for the bride is miraculously allayed. On that account, of all the Francophone moviemakers, if gauged by the skill and felicity of producing seriocomic crowdpleaser with a perfect balance of bonhomie and sobriety, the Nakache-Toledano duo is a shoo-in par excellence.

referential entries: Nakache and Toledano’s THE INTOUCHABLES (2011, 7.7/10); Ruben Alves’s THE GILDED CAGE (2013, 6.8/10)