” BACK to MY MOTHER’s house ” : there is always the little girl to her mom

Eric Lavaine is customary of comedies that make you think : he has committed Incognito, which dealt with the glory and the usurpation of success, and, more recently, Barbecue, the topic was the strength of friendship, the transition to the fifties. During the presentation to Bordeaux to RETURN to MY MOTHER’s house, he said, he wished to evoke the Generation Boomerang, which affects these adults forced to return to live with their parents. While the spring of the subject ambivalent of the family – sometimes a refuge, sometimes a place of great violence – is quite dramatic, Lavaine wanted to approach it from the angle of comedy. Almost all of the situations and dialogues of the relationship parents/children and brothers/sisters (he has worked with his co-writer usual Héctor Cabello Reyes) is inspired by moments of life, experienced or told by relatives. The director asserts, moreover, with a sense of humor to have no imagination, but just a very good memory !

Stephanie (Alexandra Lamy, rather neutral), therefore, return to the home of her mother, Jacqueline, recently widowed (Josiane Balasko, who gives heart and joy in this character in color). Divorced, she lost her architect’s firm for obscure reasons that will be very vaguely explained at the end. BACK HOME, MY MOTHER has to base the relations of Stephanie with her mother and everything that is related to the inevitable reproduction of behavioural patterns classic adult/child. Lavaine operates all the ingredients of the cohabitation between the mother and her daughter, with whom she has not seen (or refuses to see) grow. You will then be entitled to all of these tics and requirements of the elderly parents as an adult can easily withstand during a weekend, and again, but hardly on a daily basis ! Has this habit annoying the storage and schedules to adhere to, noise, multiple products by the mother and that upset the girl in her concentration. BACK HOME, MY MOTHER also discusses the strained relationship of Stephanie with the other two members of the family : the jealousy and non-called revived by his sister’s bitchy Carole (Mathilde Seigner), or the fall into the abyss of memories with his brother selfish Nicolas (Philippe Lefebvre).

“By its trade laborious and distressing to us, BACK HOME MY MOTHER stays on the surface of its subject”

The characters are very stereotypical, such as the nice brother-in-law Alain (Jérôme Commandeur, in his usual role of type exposed), as if only one adjective was sufficient to depict the complexity of a character. We understand that this simplicity is used the scenario to highlight the central character in more mature of Jacqueline, a mother, and still woman.

The climax of BACK to MY MOTHER’s house is the famous dinner at which Jacqueline wants absolutely to announce a great new, but nothing will happen of course as expected. A realism that wants to be funny and quirky but does not allow the viewer to see something other than a dinner lived with a family of his own and a moment of cinema rather missed. The pace of BACK AT MY MOM wants to voluntarily slow because the director wanted to make feel the viewer the gravity and boredom faced by Stephanie. And from this point of view, he has achieved his goal. The exchanges between the characters are rather time consuming, and disheartening to us but most of all… It does nothing interesting ! How to take a great interest or be moved to these stories of legacies, of bare property, money, sale of properties (a set that reminds of Beautiful Families). We will sometimes leave out a smile in the face of misunderstandings and other poor plays on words. Of course, a comedy is not intended to make people laugh all the time, and it does not requirement to be laughing at every scene.

Of course Eric Lavaine wants to denounce this situation of young adults facing unemployment and money problems. But to denounce it is necessary that the viewer feel empathy for the character and be affected by what it travels through. It must be that the laugh, or even smile, gave rise to the emotion. Unfortunately, Stephanie does not moves us only too rare moments, of which the most prominent is its inability to close the jacket of his young son. The mask of the courageous young woman and proud then falls. Eric Lavaine lets us see his flaws, which make the cracking of his good-will and enthusiasm. These bright moments, poignant, or really funny, that the director chose not to explore further, there are a few of them in BACK AT MY MOTHER. Thus, the encounter all too brief in the Job center is well seen, with a Patrick Bosso redneck to wish and deposit marseillaise film tour to Aix-En-Provence. The revelation of the source of the problems Stephanie and how intrusive and patronising that choose Jacqueline for the help, saving the viewer a plausible explanation. There was, however, a matter of digging on the famous mother/daughter relationship and the issue of the interest to maintain at any cost the relationship with the family. The director had all the cards in hand to do the RETURN AT MY MOTHER’s a feel good movie, but he just to stay on the surface. Damage.



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