By Mathilde Balmary
Quoting the famous French agent OSS 117 might be an odd way to start an article on French nationalism, however French comedies are crucial in the shaping and debating of national identity. From Molière to modern cinema, humor has always been a way for the French to reflect on their own society. Critiquing behaviours, traditions and culture through entertainment as a way to bring people together and mock their own common uses is a very successful form of entertainment in France. But can one argue that it serves a nationalist narrative ?
The nationalist perspective can be seen through the study of philosophy in these movies. Intellectualism is a crucial part of French culture and identity. To name a few, Descartes, Rousseau or even Voltaire, are crucial representatives of the French intellect through history.
This is represented in many French comedies. For example in Astérix and Obléix : Mission Cleopatre (one of the most famous French comedy), the scribe (Edouard Baer) starts his very infamous monologue by “Je ne sais pas si c’est une bonne ou une mauvaise situation », followed by a very long rant about his job situation. This is one of the most well known monologues in French cinema and celebrates philosophical thoughts in regular discussions. One could argue that this only reinforces the idea of French intellectual superiority by the mastering of philosophy and more importantly, the French language. The latter is also very present in movies such as in Ridicules where French wit is celebrated at Versailles, or even through iconic characters such as Cyrano de Bergerac. Can France be praised as the beacon of enlightenment over other nations ?
The second aspect of French identity that is very often portrayed in comedies is religion. In Rabbi Jacob for example, Louis de Funès’character, a very conservative catholic man, interprets a Rabbi and discovers the Jewish religion. Furthermore in Qu’est ce qu’on a fait au Bon Dieu ?, we see a very traditional, and closed minded family of bourgeois where the 4 daughters marry respectively a Jew, an Arab, a Chinese and a Black man. The third part of this saga consists of the parents proving to their sons in law how amazing France is and how foolish it would be for them to return to their native countries. These comedies highlight France’s multicultural identity but also contribute to revealing tensions between secular republicanism and the important presence of a plethora of religious identities. One could argue that these movies ultimately reinforce a nationalist vision of assimilation, where Frenchness is presented as the common denominator for all citizens.
If French comedies debate the role of religion in national identity, they also question another key aspect of French nationalism: the perception of its cultural superiority. Here, the obvious example is of course France’s favourite secret agent : OSS 117. Jean Duhardin’s character is the paroxysm of ignorance and arrogance, particularly on the topic of foreign affairs. For example in the first volet, he is described as an “expert in the Arabo – Muslim world”, however he is also the guy who will smash the muezzin’s face during the call to prayer because he woke him up. He will also speak of Islam as a religion “with not much future”. The agent represents a colonialist and nationalist vision of France however audiences find it acceptable and hilarious because the character is voluntarily portrayed as ignorant. Here one could argue that French self mockery is a form of soft nationalism. It seems acceptable for the French to be condescending, ignorant and enhancing stereotypes as long as it is done through humor.
And finally, how could one talk of French culture and identity without mentioning gastronomy. Charles de Gaulle himself said “How can anyone govern a country that has 246 varieties of cheese?”. Once again, it has a major place in French comedies. For example, in every single comic/film of Astérix and Obléix, their quest always ends with a huge banquet where Obélix devours wild boars. The character, whenever in another country, does not fail to criticize its national gastronomy, highlighting French superiority in this area. Once again, Louis de Funès’ character in Le Grand Restaurant, shows quite a reaction to non traditional French food. Is this a
form of celebration of heritage or does it highlight an exclusionary idea that only French food is acceptable and appreciable in France ?
French comedies do not only reflect French culture, they also engage with nationalism, whether it is highlighting it or criticizing it. The line between the celebration of Frenchness and its boundaries is a very recurring theme in French comedies. One can argue that humor here plays a dual role : bringing people together under a shared identity while also allowing for a redefinition of that identity.
Bibliography :
Astérix et Obélix : Mission Cléopâtre (Alain Chabat, 2002)
Cyrano de Bergerac (Jean Paul Rappeneau, 1990)
Hugo, V. (1838). Ruy Blas
Le Grand Restaurant (Jacques Besnard, 1966)
Moliere (1670). Le Bourgeois Gentilhomme
OSS 117 : Le Caire, nid d’espions (Michel Hazanavicius, 2006)
Qu’est ce qu’on a fait au Bon Dieu (Philippe de Chauveron, 2014)
Rabbi Jacob (Gerard Oury, 1973)
Ridicules (Patrice Leconte, 1996)
Rousseau, J. (1762). L’Emile
Identity Hunters 