Review: The Visitors (1993)
Introduction
The Visitors (French: Les Visiteurs) is a 1993 French fantasy-comedy film directed by Jean-Marie Poiré and starring Jean Reno, Christian Clavier, and Valérie Lemercier. A cult classic in France, the film blends medieval adventure with slapstick humor and fish-out-of-water comedy. It tells the story of a 12th-century knight and his dim-witted squire who, due to a magical mishap, are accidentally transported to the 20th century.
With its unique premise, over-the-top performances, and absurd comedic moments, The Visitors became one of the most successful French films of all time. However, while its humor resonates well with fans of French comedy, some aspects may feel outdated or excessively exaggerated for modern audiences.
Plot Overview
The film follows Godefroy de Montmirail (Jean Reno), a brave but somewhat reckless medieval knight who, after saving King Louis VI, is set to marry the beautiful Frénégonde de Pouille (Valérie Lemercier). However, an enchantment gone wrong by the bumbling wizard Eusaebius (Pierre Vial) causes Godefroy and his loyal yet foolish squire, Jacquouille la Fripouille (Christian Clavier), to be transported to the modern era of 1992.
Confused and disoriented, the two medieval men struggle to understand the strange customs, technology, and people of the 20th century. Godefroy soon meets his own descendant, Béatrice de Montmirail (also played by Valérie Lemercier), who is horrified by his uncivilized behavior. Meanwhile, Jacquouille discovers a love for modern comforts and causes chaos at every turn.
As Godefroy desperately tries to return to his own time, he faces numerous absurd challenges, including mistaken identities, encounters with eccentric modern relatives, and the constant antics of Jacquouille. The film builds up to a climactic resolution where magic must once again be used to send them back—though, predictably, things don’t go as planned.
Themes and Tone
The Visitors is primarily a fish-out-of-water comedy that plays on the stark contrast between medieval values and modern life. The film humorously highlights the absurdities of both eras, exaggerating the nobility and arrogance of the past while also mocking the materialism and absurd conveniences of the present.
There is also an underlying social commentary on class dynamics. Godefroy, a noble knight, and Jacquouille, a peasant, have a strict master-servant relationship in the Middle Ages. However, in the 20th century, Jacquouille begins to taste the freedom of modern life, upending their relationship and leading to some of the film’s funniest moments.
Despite its comedic nature, the film also has moments of satirical reflection, questioning whether progress truly improves society or simply changes the way people act. However, these themes remain secondary to the slapstick humor and chaotic antics that dominate the film.
Performances
Jean Reno as Godefroy de Montmirail
Jean Reno, best known for his serious roles in films like Léon: The Professional, delivers a surprisingly strong comedic performance. His portrayal of Godefroy as a noble but utterly confused knight is both hilarious and charismatic. His physical comedy—whether it’s trying to understand modern inventions or interacting with his 20th-century descendants—is impeccable.
Christian Clavier as Jacquouille la Fripouille
Christian Clavier is the heart of the film, bringing an over-the-top, almost cartoonish energy to the role of Jacquouille. His mischievous, dim-witted peasant character thrives in the modern world, causing endless mayhem. His exaggerated facial expressions and slapstick humor make him a standout, though his comedic style may feel excessive to some viewers.
Valérie Lemercier as Béatrice de Montmirail / Frénégonde de Pouille
Valérie Lemercier does an excellent job portraying both the refined modern descendant, Béatrice, and the 12th-century noblewoman, Frénégonde. Her reactions to Godefroy’s medieval behavior add to the humor, and she provides a grounding presence in an otherwise chaotic film.
Comedy and Humor
The humor in The Visitors is heavily physical and slapstick-based, drawing inspiration from classic silent films and theatrical comedy. Many of the jokes rely on misunderstandings, overreactions, and medieval logic clashing with modern reality.
Some of the most memorable comedic moments include:
Godefroy mistaking a car for a mechanical beast and attacking it.
Jacquouille discovering plumbing and using a sink as a bathtub.
The duo’s horror at modern hygiene practices, such as toothpaste and showers.
While the film’s humor is effective for fans of exaggerated performances and slapstick, some of the jokes—particularly those based on outdated stereotypes or crude humor—may not land as well for contemporary audiences.
Cinematography and Visuals
Despite being a comedy, The Visitors features solid production design and cinematography. The contrast between the gritty medieval world and the bright, colorful 20th-century setting is visually striking. Director Jean-Marie Poiré ensures that the film’s pace is energetic, with quick edits and exaggerated camera angles enhancing the comedic effect.
Costume design is also a highlight, with historically detailed medieval armor and clothing for Godefroy and Jacquouille that starkly contrast with the modern outfits of the 1990s. This further amplifies the visual humor as the two time travelers stand out awkwardly in contemporary France.
Pacing and Storytelling
At 107 minutes, The Visitors maintains a fast pace, with barely a dull moment. However, this breakneck speed sometimes works against it, as some jokes are rushed, and certain plot elements (such as the mechanics of time travel) are glossed over.
Additionally, while the comedic situations are entertaining, the story itself is fairly predictable. Once the premise is set, much of the film follows a pattern of escalating misunderstandings and comedic mishaps. While enjoyable, this repetition may make the film feel overly long for some viewers.
Legacy and Impact
Upon its release, The Visitors became one of the highest-grossing French films of all time. Its success led to a sequel, The Visitors II: The Corridors of Time (1998), as well as an American remake, Just Visiting (2001), though the latter failed to capture the original’s charm.
The film remains a beloved classic in France, frequently referenced in French pop culture. Its catchphrases, particularly Jacquouille’s "Okaaay!" (D'accord!) and “Messire, c'est une catastrophe!” have become iconic among French audiences.
However, the humor and style of The Visitors are very much tied to French comedy traditions. While it has international fans, its exaggerated performances and reliance on slapstick humor may not appeal to everyone, especially those unfamiliar with French cinematic comedy.
Conclusion
The Visitors is a wildly entertaining and absurd comedy that thrives on its ridiculous premise and strong performances. Jean Reno and Christian Clavier create an unforgettable comedic duo, and the film’s energetic pacing keeps the laughs coming.
However, its reliance on over-the-top slapstick and outdated humor may not be for everyone. While it remains a classic of French cinema, it’s best enjoyed with an appreciation for French comedy traditions and a tolerance for exaggerated humor.
Final Verdict
Pros:
Hilarious performances, especially from Jean Reno and Christian Clavier
Unique and creative premise
Strong visual contrast between medieval and modern settings
Iconic French comedy with memorable catchphrases
Cons:
Some jokes feel outdated or over-the-top
Predictable storyline with repetitive comedic beats
Humor may not translate well for all international audiences
Final Rating: 7.5/10
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