Come to present their film before-first in the South-West, with a few flights of a bird of the beach, the Blue Waves, the two screenwriters Fabien Ontoniente (the director) and Franck Dubosc (Patrick) have proclaimed to have written this CAMPSITE 3 with the heart. The film answers that, according to them, the desire of love on the part of the audience for the characters. It must be recognized that some of the scenes are quite funny. But in order to appreciate CAMPING 3, several conditions must be met beforehand. The first is to have, if possible, having regard to the first two games, because many of the gags, already seen, refer to it. A bit like when we return each year to the same place on holiday, happy and reassured to see that some things don’t change. The second condition is to completely let go jack, to imagine a swimsuit and the toes in range …and not, alas, trying to see something other than what we show on the screen.

It is necessary to make efforts of originality to renew itself when it has a unity of place, time and characters. The directors may decide to relocate the team geographically, with more or less success. as The Profs 2 in England, The Tuche 2 in America, or Babysitting a 2 in the Amazon. The writers can also play at infinity on the new characters, as The Visitors – The Revolution is tried. Camping 2 involved Richard Anconina in place of Gérard Lanvin and this is still the bias of CAMPSITE 3. But this time, they go further : exit Sophie Gatineau – because it took up space and that his interpreter, Mathide Seigner, was busy on another shoot – hello to the new, three nice young pups in galley of money and housing, that Patrick is going to take under his wing, first by interest and then by greatness of soul. And it adds to their buddies and girlfriends and families of friends.

CAMPING 3 rushes in the registry in the usual confrontation of another world with the fans of the camping. Again this year the encounter between the old and the new ones ready to laugh. The whole palette of comic antagonism is carried on : misunderstandings, puns, worn-out jokes in relation to the generational gap. The many, many references to old songs, old music groups, well rooted in the 1980s, access to new technologies… in short, nothing very original, and already repeatedly exploited in all the comedies (like the recent Return to my mother’s house). Great moments in quiet necessary for the rise time of the information to the brain of Patrick, are ultimately the funniest.

“The spectator Camping 3 is like Patrick : swimsuit and flip-flops at the edge of the beach, it does not take the head !”

The comedy is sometimes an indirect way to give the public a grain of sand of reflection. Many prejudices are here touched. Peeling mixes, CAMPING 3 tackles racism through Robert, one of the young people. Is referred to the possible homosexuality of a Paulo (Antoine Duléry) and devastated by his divorce with Sophia, and the way in which Patrick confronts is quite confusing. Franck Dubosc recycle in passing his sketches in the hallucinations (“oh, no, not the indian of the Village People!”). And the disability is doubly shown : first, the Alzheimer’s Jacky (Claude Brasseur), but without totally assume it, then the divorced mother of a girlfriend of the band of young people (Christiana Right), in a scene reminiscent of the excellent sketch of the “Ministry of the markets ridiculous” of Monty Python.

The themes of societal and current affairs are not left out of this third ode to holiday at the campsite. The writers emphasise the social difference between the very rich parigots in the splendid villas of Cap Ferret and the franchouillards in campings Arcachon. They make us meet the obnoxious host of a tv game show (Gérard Jugnot, once again in a role interchangeable, that can as well interpret Christian Keyboard that Didier Bourdon). We are also entitled to a topo on the consequences of a management of the american Blue Waves, acquired by Carello (Philippe Lellouche) or on the effects caused by the drug.

But all this is just sand in the eyes which ultimately leaves a slightly bitter taste in the mouth. A bit like after That is what we did in the Good God. Almost ashamed of having conceded laughter fat on subjects as sensitive, to the sides of these vacationers presented as a generous, loving simple life, and drinking pastis all the time. The writers have opened up several avenues for stories without much interest, but leave them, ultimately, as after a disassembly of a tent. Because nothing is serious, nothing is dug. And because basically no matter: the one that counts, the one for which the public acquired came to: this is Patrick ! Since the main character it’s definitely him, the one that is expected, and his view of others, his natural friendliness, his naivete, his simplicity. All the rest is just packaging.

In CAMPING 3, the writers focused on the fact that Patrick is gaining in maturity. He becomes aware of his beaufitude and leaves little by little, her swimsuit large retarded to assume that of an adult full of wisdom. A father in sum, with the unexpected opportunity to train with the young pups. A transformation that does not prevent him from continuing to do the worst sins, leading to CAMPING 3 to a kind of a Very Bad Trip to the Blue Waves. The writers also address a look pretty pathetic on the excesses of the fifties. It does not save us any scene glaucous drag in the nightclub Shogun by these beautiful old or cougars, that only the awareness of the ridiculous allows no more to cross the limits.

Suddenly, the viewer is like Patrick, he does never really. Not a dupe, it remains in a swimsuit and flip-flops at the water’s edge and does not take the head. Enough for him this feeling of being in a field of knowledge with these reference points, stainless steel reassuring in the midst of a natural setting, and realistic. CAMPSITE 3 is like a sunburn. That one quickly forgets. Until the next vacation in the Blue Waves.


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