Tralala: A film miracle [critique]

The Larrieues happily try their hand at musical comedy in their hometown of Lourdes, with mischievous fantasy slung over their shoulder.

They had already tried it in A man, a real man. Like a first flirtation before the great love affair between two people made to live together. Because everything in the ludic cinema, anchored in reality and yet always a little elsewhere, of Larrieu had to lead them towards the musical comedy. But in their hands, at the same time totally in the genre and a little beside it therefore. Or the relationship that their main character maintains with existence. His name is Tralala, a celestial tramp who squats in a demolished building when, in Paris, he has an apparition. A young girl dressed in blue, come from Lourdes who, evaporates as she arrived, and that he will go to find in her city (the birthplace of the Larrieu), the city of all miracles, where a family goes decide to recognize him as one of his own. A son who has been missing for 20 years and awaited as the Messiah.

The pretenses, the lies that we prefer to invent to escape a too gloomy reality are in power in this comedy which happily mixes musical genres, each character having his appointed composer. A polyphony that never rhymes with cacophony because the art of the Larrieu’s craziness is based on great mastery. The rules of their game are precise but never overwhelming. And his wonderful soloists (Mathieu Amalric, Mélanie Thierry, Josiane Balasko and the revelation Bertrand Belin whose charismatic face should regularly squat the big screen in the years to come) give voice with a generous enthusiasm and an inextinguishable faith in the cinema.

By Arnaud and Jean- Marie Larrieu. With Mathieu Amalric, Mélanie Thierry, Bertrand Belin… Duration 2 hours. Released on October 6, 2021.

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