Wednesday, 24 September 2014

Review: The Kidnapping of Michel Houellebecq

A review for The Film Gods

The Kidnapping of Michel Houellebecq (dir. Guillaume Nicloux)                 
               

In 2011, France’s most controversial literary export since the Marquis de Sade went missing during a promotional tour of his latest book, The Map and the Territory. What ensued was a media frenzy that speculated widely on Houellebecq’s whereabouts; a baton that writer and director Guillaume Nicloux diligently picks up in his latest film.

For Nicloux’s money, Houellebecq’s disappearance three years ago was not on account of a liaison with al-Qaida, but instead the result of a brief, though enforced, stay at the country home of Luc and his sensitive skinhead brothers. The film begins with the diurnal experiences of the writer as he makes plans to redecorate his kitchen and traverses the streets of Paris - cigarettes and well-documented intolerance close at hand. In these moments of self-parody, Houellebecq comes across as remarkably engaging, with the writer proving that he is very aware, and more than willing to make light of, the unflattering picture that many people have of him.

Houellebecq is presented as calm if not a little complacent in his lifestyle, a picture which does not change when Luc and his brothers arrive with a perforated metal box to take him away. Rather than concerning itself with heightened emotion or melodrama, Nicloux’s film takes a decidedly down-played look at abduction, with the writer, chain-smoking and chained to a bed, remaining his idiosyncratic self throughout. Each member of the family with which Houellebecq is lodging comes to admire him for his deadpan manner and literary prowess. Some seek the author’s advice where others look to flaunt their abilities in wrestling, bodybuilding or vehicular maintenance. All the while, the atmosphere remains exceptionally cordial as wine continues to flow and the writer, after turning down the option to browse a selection of pornographic magazines, is granted a prostitute instead. In this exceptional kidnapping, each of the abducted’s whims are pandered to and, in fact, the writer’s only moment of frustration comes at Luc’s repeated refusal to return his cigarette lighter to him.

With the notion of an actor playing himself not being limited to the French author, Nicloux crafts a naturalistic, dry comedy that ultimately charms the viewer just as Houellebecq charms his captors. The cast is comprised of amateurs that play-off Houellebecq’s central performance, which is captivating from the start, to great effect. Provocative and offensive, The Kidnapping of Michel Houellebecq is not one of the most conventionally comedic films that will be released this year, but it is all the better, and more suitable to its subject, for it.