Odd couple in Paris

LITTLE ROCK — The Intouchables

86 Cast: Francois Cluzet, Omar Sy, Anne Le Ny, Audrey Fleurot, Clotilde Mollet, Cyril Mendy Directors: Olivier Nakache, Eric Toledano Rating: R, for language and some drug use Running time: 112 minutes

In French with English subtitles

The Intouchables is a tale of two cities — both of them Paris — and two citoyens: Philippe (Francois Cluzet), a wealthy, white, mansion-bound aesthete paralyzed from the neck down in a paragliding accident; and Driss (Omar Sy), a younger, earthier Senegalese immigrant from the projects Philippe hires to be his caretaker.

Any mystery as to whether this odd couple will surmount racial and class divisions evaporates in the film’s first scene, as the two hurtle through Parisian streets and tunnels, joyfully singing along to ’70s soul music.

It’s a breezily entertaining sequence, and while the film steps back to show the occasionally bumpy progress of the relationship from the beginning, that opening reassures viewers hungry for harmony that there’s more to come. Though it has its moments of social observation, the film’s less about how the other half lives than how happily the halves can fit together.

Driss and Philippe meet more curt than cute when Driss barges into the room where Philippe and his frosty yet voluptuous assistant, Magalie (Audrey Fleurot), are interviewing potential live-in caretakers. Driss only wants the requisite signature showing that he tried for the job to qualify for the dole. He largely ignores Philippe, preferring to flirt outrageously with Magalie, but Philippe decides, in his patrician way, that he likes the cut of the younger man’s jib, and hires him.

And so begins a beautiful friendship. The film relies heavily on Sy’s charisma and the convincing chemistry between the two leads in this May-December bromance (framour, I believe, in French). When Driss talks, everybody falls in line, from secretaries and socialites to cops and drug dealers. His rude charm and virility stir up Philippe’s household, and he’s soon acting as matchmaker for Philippe and others, as well as would-be matchmaker for himself with Magalie. Cluzet, a Frenchman’s Dustin Hoffman, gives a quietly sincere performance, but in his straitened condition has a hard time holding the screen with Sy as more than a foil.

Driss shows little taste for the unpleasant physical aspects of taking care of a quadriplegic, and often the film, while not ignoring those realities, plays paralysis for laughs — Philippe falling out of his chair, or danced around like a marionette by Driss, or dressed in various ridiculous outfits — more Weekend at Bernie’s than The Diving Bell and the Butterfly.

That said, there are definitely some good gags about the peculiarities of Philippe’s affliction — you may never touch or look at ears the same way again after this film’s investigation of their erotic possibilities.

While a certain delicacy toward Philippe’s feelings may be lacking — one which would seem appropriate for a man devoted to poetry, opera and art — Driss’ lack of sentimentality is ultimately what endears him to Philippe and saves the movie. Philippe tells a friend that Driss gives him exactly what he wants: no pity.

The film does strive for a certain social realism in its depiction of Driss’ life. In his world, Driss is less assured, and he is pained to see his younger cousin become involved in a life of crime. Again, though, the filmmakers’ preference to indulge in high jinks undercuts its seriousness — when Driss physically cows a couple of minor social offenders, any tension or moral component to the scenes is given over in favor of laughs.

And the contrast between Philippe’s highbrow preferences and Driss’ more popular tastes gets overplayed, such as Driss’ dancing at Philippe’s birthday party, which spurs some of the uptight rich folks to awkwardly shake their booties, is too familiar and too much of an on-the-nose contrast. Yet even there, Sy makes Driss’ exuberance feel organic.

Despite the film’s setup, it’s more funny and charming than heartstring-pulling. Enjoy the performances and the comedy, and spare your pity for the missed opportunities for social commentary and more subtle character development — you’ll find The Intouchables much more sympathetic.