Despite the international success of Les Choristes Gerard Jugnot remains virtually unknown in England. Of the 92 movies in which he has acted - 16 of which he wrote and 10 of which he directed - only seven have been shown in England and in two of them (Le Juge et l'assassin, Que le fete commence) he was uncredited; in Les Valseuses he had only a 'bit'; Le Clef de la bagnole was full of French actors who appeared only momentarily; Herbie Goes To Monte Carlo wasn't made in France which leaves Tandem and Monsieur Klein. Most of his colleagues from L'equipe du Splendid have similar profiles, i.e. scores of acting credits (well over 100 in the case of Thierry Lhermitte), plus several writing and directing credits also but even so the likes of Michel Blanc (Monsieur Hire), Josiane Balasko(Gazon Maudit) and Christian Clavier (Les Visiteurs) have still to register as even a modest blip on the radar of English movie goers.
This is a great pity as all of them have lots to offer and Jugnot is no exception; Oui, Mais is a fine example of simply Jugnot the actor doing a first-rate job as the psychiatrist who helps Emilie Dequenne come to terms with emerging adulthood and deal with problems on several fronts. In an age where psychiatry, in England at least, prefers to deal with mental illness by treating it with drugs to suppress rather than cure - not unlike bandaging a festering wound but applying no ointment; it won't offend passers by but neither will it heal - it's refreshing to find a film where the value of analysis via one-to-one sessions is appreciated. Both Dequenne and Jugnot are excellent and the film is a real gem which would, I am convinced, if given the chance would be well received in England.
This is a great pity as all of them have lots to offer and Jugnot is no exception; Oui, Mais is a fine example of simply Jugnot the actor doing a first-rate job as the psychiatrist who helps Emilie Dequenne come to terms with emerging adulthood and deal with problems on several fronts. In an age where psychiatry, in England at least, prefers to deal with mental illness by treating it with drugs to suppress rather than cure - not unlike bandaging a festering wound but applying no ointment; it won't offend passers by but neither will it heal - it's refreshing to find a film where the value of analysis via one-to-one sessions is appreciated. Both Dequenne and Jugnot are excellent and the film is a real gem which would, I am convinced, if given the chance would be well received in England.