|Die Frankfurt-Tipp Bewertung:|
|Originaltitel:||Qu'est-ce qu'on a encore fait au bon Dieu?|
|Regie:||Philippe de Chauveron|
|Laufzeit:||Ca. 99 min.|
|FSK:||From 0 years|
Monsieur Claude (Christian Clavier) and his wife Marie Verneuil (Chantal Lauby) have just come to terms with the fact that their four beautiful daughters have chosen husbands who don't even live up to their traditional expectations: Ségolène (Emilie Caen) has the Chinese Chao (Frédéric Chau), Isabelle (Frédérique Bel) the Muslim Rachid (Medi Sadoun), Odile (Julia Piaton) the Jew David (Ary Abittan) and Laure (Elodie Fontan) the African Charles (Noom Diawara). After initial despair, Claude and Marie wanted to be particularly cosmopolitan and even visited the hometowns of their sons-in-law. All well and good - until the daughters announce that they want to move away with their new families. Claude and Marie absolutely have to prevent this - and get help from the unexpected…
Comedies about the multicultural society have been booming for several years. The French hit "Monsieur Claude und seine Töchter" belonged also in Germany to the most successful movies which took care of the topic. After all, director Philippe de Chauveron and his co-author Guy Laurent were able to draw on a wealth of clichés and stereotypes from five different cultures while playing with them. After the film attracted over 12 million viewers in France to the cinemas and was also a real box-office hit in Germany with almost 4 million visitors, a sequel was actually unavoidable.
Surely, strictly speaking, "Monsieur Claude 2" is one of these typical second parts, which actually only copy their predecessor and slightly vary the familiar. Nevertheless, the whole thing works really well again in this second attempt - almost as well as the original. This is not only due to the well-rehearsed ensemble, but also to the script and the fast-paced staging. The dialogues are again very funny and don't care about political correctness at all, without ever being really offensive. In these highly sensitive times, it's almost a feat - and it's so good to be able to laugh about it heartily.
The production then thankfully avoids too obviously swinging the moral cudgel. Rather it is shown with a lot of charm, humour and cordiality that we humans are basically all the same despite many differences. Such a message, which appeals to humanity and cosmopolitanism, does not always have to be spread with melancholy and dreariness, only to put the feuilleton and festival juries into a state of rapture. If you add a high entertainment value to it, as has happened here, it will reach many more people and also bring a lot of joy. And you can't get enough of that right now, can you? That's why this light-footed and really well done sequel is clearly one of a kind: Absolutely worth seeing!
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