“Monsieur Claude and His Daughters” has achieved cult status in its home country of France. The film also attracted over four million visitors to cinemas in this country, which is why a continuation of the material is not really surprising. What’s remarkable is how obvious the makers are Serial (Bad) Weddings 2 (Qu’est-ce qu’on a encore fait au Bon Dieu? emg: What have we (still) done to the Good Lord?) The previously half-hidden racism is now confidently coming to the surface. We reveal more about this in our review.
The Plot Summary
What did Monsieur Claude Verneuil and his wife Marie have to endure?! Circumcision rituals, halal chicken, kosher dim sum and last but not least the Koffis from the Ivory Coast. But since their daughters’ four maximally multicultural weddings, the two of them have been unsurpassed in their integration. And so Claude and Marie are looking forward to being grandparents in the comfort of their own home. Once again they did the math without their daughters. When they explain to them that there is no chance of success with these husbands in conservative France and that they will therefore seek their happiness abroad with their children and children, the faces of the upper middle class suddenly become very long. All the beautiful tolerance was for nothing? The hard-earned adaptability – perdü? Claude Verneuil is threatened with another irreconcilable family heart attack. He and Marie move heaven and earth to get their sons-in-law to stay. And suddenly they become cunning patriots on a mission to be friendly to the people.
Serial (Bad) Weddings 2 Movie explanation of the ending
The 2014 comedy hit “Monsieur Claude and His Daughters” can be described as a phenomenon with a clear conscience. Not only because the anything but politically correct, off-the-cuff integration comedy (namely without franchise affiliation, well-known template or anything like star power) was able to attract almost four million viewers to USA cinemas – and therefore more than box office magnets like Matthias that year Schweighöfer (“Father’s Joy”) or Leonardo DiCaprio (“The Wolf of Wall Street”). But also because he made the questionable “You’ll probably still be allowed to say that!” mentality of the forever old people socially acceptable again. Or simply illustrated very well why so-called “concerned citizens” are heard more than should be allowed above a certain limit. With a lot of goodwill, Philippe de Chauveron’s film also passes as a balancing act: with a few gags, the film also undermines the views of the backwards-patriotic Monsieur Claude. Nevertheless, the first part of the film series encourages the wrong kind of amusement in many places; to be upset about “the others” and to respect Monsieur Claude, who is finally saying all the supposed truths that one is otherwise no longer allowed to say out loud. Philippe de Chauveron made things even worse with his follow-up work, “Come in!”, for which ardent Marine Le Pen supporters probably congratulated him. The fact that “Serial (Bad) Weddings 2” is actually closer to the miserable “Come in!” than to the just acceptable “Monsieur Claude and his daughters” is a deep insight.
The dear sons-in-law: Charles (Noom Diawara), David (Ary Abittan), Rachid (Medi Sadoun) and Chao (Frédéric Chau).
There is nothing reprehensible about the premise of “Monsieur Claude and his Daughters” per se. And unfortunately, given current global political trends, it is also quite realistic that a man of retirement age who has never had contact with foreign cultures will initially take refuge in racist thoughts when faced with foreign sons-in-law. After all: it was part of the happy ending of the first film that the eponymous Monsieur Claude actually came to terms with the many different, all non-Christian-French husbands of his daughters (or at least pretended to). The sequel “Serial (Bad) Weddings 2” shows right at the beginning how serious he is about this matter. The father of four goes on holiday with his wife in the countries of origin of all his sons-in-law; actually an act of willingness to sacrifice and a sign of wanting to come into contact with foreign cultures. The fact that the screenwriters Philippe de Chauveron and Guy Laurent (who not only wrote the predecessor together, but also “Come in!”) did not intend to use this starting point to indicate anything like a progressive change in Monsieur Claude’s character becomes clear a little later on the basis of several points: On the one hand, they only let their two main characters access the standard tourist destinations of the individual cities and countries, on the other hand, all of this is just the basis for Monsieur Claude’s first big all-round attack – and here it is for all those who are already in the first one Part of the underlying racism was really unpleasant.
At this point we don’t want to be more papal than the Pope and especially when cruder gags are written well and pointedly, you can flirt with political correctness. The script for “Serial (Bad) Weddings 2”, on the other hand, is primarily one thing: clumsy. So often, so loudly and so rudely (and anything but witty) Monsieur Claude complains about the peculiarities of different countries and their inhabitants (be it about particularly thorough airport checks or eating habits), his daughters and sons-in-law sitting around don’t even come afterwards, to disarm him even once in a somewhat amusing way. Again and again, Monsieur Claude unleashes a barrage of prejudices and doesn’t hold back with his less than open-minded opinions. This is particularly surprising considering that his character is said to have already undergone a certain change of heart in the first part. But the film draws its supposed joke from such outrageous scenes as this one, in which Monsieur Claude hits a refugee in the skull with a shovel (of course the topic of refugees has to be briefly mentioned somewhere in the context of an irrelevant side story) because he is a terrorist, or that André Koffi (Pascal N’Zonzi), already known from part one, father of one of his son-in-law Charles, is suddenly confronted with the fact that his daughter wants to marry a woman – for this “Monsieur Claude in black” of course an unparalleled catastrophe.
Clear mission for Marie (Chantal Lauby) and Claude Verneuil (Christian Clavier): France’s advantages can be enjoyed with the finest culinary delights
In any case, the authors in “Serial (Bad) Weddings 2” are planning everything out for the greatest possible catastrophe. In the first part this only extended to the origins of Monsieur Claude’s sons-in-law. In part two, everyone just does what they want – and that’s apparently the problem. Of course, that is also the concept to a certain extent. “Murphy’s Law – The Movie” so to speak. But in order for this idea to work, the creators require the viewer to fully engage with their protagonist’s point of view. And forget to distance yourself from it. In the end, the achievement of the minimum requirement for tolerance (André sulkily accepts that his daughter is marrying a woman) is hyped up into an absolute happy ending. “Serial (Bad) Weddings 2” lacks a discussion of the idiocy of this topic, as does halfway believable dialogue. There is hardly a sentence in which the characters, solidly embodied by their actors, do not exchange ideas about the peculiarities of their fellow human beings, with reference to their origins, or different countries. Everything that happens in “Serial (Bad) Weddings 2” always has something to do with origins in a closer or broader sense. This is tiring and annoying at the same time, because as in the case of “Come in!”, the makers of their film were much more likely to reinforce prejudices than to get rid of them. This is damn dangerous, especially in this day and age.
Conclusion: In the first part, it was still debatable whether the makers were just too clumsy to adequately refute the openly expressed prejudices and clichés. In the second part they don’t even try – of course it’s no longer funny.
Serial (Bad) Weddings 2 can be seen in USA cinemas nationwide from April 4th.