At times, “Let it Rain” comes off as an experiment to see how far you can push an inherently incompatible trio before the relationship begins to seem contrived. In this case, it seems that if the characters are neurotic enough and the dialogue is interesting enough, you can really go to town and still make a good movie.
Agnes Jaoui’s dramedy follows Agathe Villanova (Jaoui), a modern feminist who returns home to run for office as she deals with the aftermath of her mother’s death and (though it never happens in the film) vacation. While back home she is approached by the film’s comic relief duo, Karim (Jamel Debbouze), the son of her childhood nanny, and Michel (Jean-Pierre Bacri), an idealistic divorcee, to do a documentary on “successful” women.
In real life, it’s hard to imagine any serious would-be politician putting up with these two characters. Karim and Michel bicker like siblings or a married couple; they attempt to be mature in front of Agathe, but their audible asides are just part of what makes them toe the line between clumsiness and undeniable incompetence.
That’s not to say they both lack sense. Karim goes head-to-head with Agathe during interviews with shamelessly loaded but intelligent and informed questions. At one point he asks, “Besides wheedling power, what is the point of politics?” getting at the “us vs. them” mentality he has toward successful people.
It’s harder to excuse Michel. The most comic moments of the film center around his bumbling and forgetfulness: He constantly forgets his reading glasses, drops a camera microphone on a baby mid-baptism and leads the film trio into the middle of a herd of sheep. Michel has an amusing opinion of Agathe’s feminist views, colored by feelings of bitterness toward his ex-wife. His definition of a feminist, when asked by his teenage son, is “a woman who is always demanding things.” His example? His ex-wife.
Somehow these three manage to get together and film a documentary. In a way, the film is the completed version of the documentary. The film lays out the basic elements of a female politician ““ she must be “domineering,” as Karim puts it, and tough as nails ““ only to break those elements down to the essentials.
In one scene, Agathe tells Michel that she feels “rejected” at times. Predictably, she’s not as strong as she seems, and there’s some sympathy to be had for her. More dramatic parts of the film center around Agathe reassessing the nature of the key relationships in her life.
And here’s where the film almost runs into trouble. For the most part it juggles comedy and drama with ease, flitting unnoticeably between the light and the heavy, but some of the subplots lack the light-footed grace of the main plot.
Even within Agathe’s marriage, it’s hard to figure out who’s more immature and needy, though her husband gives her a run for her money. That’s not to say that character likability is a prerequisite for a good film (often the opposite is true), but it’s hard to relate to or pity characters who try to wring every last ounce of said emotions out of the audience.
Thankfully, the film is only slightly more interested in these side characters than I am. Debobouze and Bacri really steal the show, with Jaoui acting as the straight woman to their comedy. In an overall enjoyable film, they’re the redeeming quality that makes up for most, if not all, of the film’s shortcomings.