Review of Monsieur Lazhar (2011) by Phil B — 09 Sep 2012

'MONSIEUR LAZHAR' - a grievous problem.

At the core of Phillipe Falardeau's film 'Monsieur Lazhar' is the subject of grief and how to deal with it. A class of primary students in French-speaking Montreal have lost their teacher to suicide. Simon, one of the pupils, discovers the body hanging from the classroom ceiling and he and Alice, who also views the scene, are deeply traumatised. Simon is particularly disturbed as he harbours feelings of personal guilt - that he may be to blame for this terrible event. When Bachir Lazhar learns of the tragedy, via the press, he offers to replace the lost teacher. As no other teacher is keen to step into this highly confronting situation, Lazhar is made welcome. However, what is revealed, in fragments of flashback, is that Lazhar himself has his own grief to deal with and, in fact, it is for his own benefit, as much as for that of the students, that he feels so strongly motivated to step into the breach.

From this point, Falardeau treads a deft and delicate path between the worlds of the child and the adult for, though they intersect, they nonetheless are very different in perspective. The adults and, in this case, the teachers, are constrained by the regulations set down by the administrative authorities. Specifically, the prohibition of physical contact with students, lest such contact may be sexually motivated, provides a fascinating, highly problematic and searingly topical context in which the film develops.

This situation is, thankfully, rare and most children are spared the violent and immediate circumstances of the tragedy the film depicts. The school principal, for example, would rather the subject be avoided altogether and she is frustrated, time after time, as Lazhar continues to address the children's grief and their teacher's suicide.

It is a long time since I have seen such naturalism in the performances of children. Far from the artificiality of the Hollywood template, one is never in doubt that these are real children expressing real emotion. Simon (Emilien Neron) is particularly affecting as his grief is a constant factor, threatening to erupt and, when it does, this pivotal scene is emotionally wrenching and difficult to watch.

Empathy and support are foundation stones of Humanity and it is how these are expressed that underscores the film's central dilemma. For adults, words may be enough but, for children, the language of physical contact is more basic, universally understood and far more eloquent. For this reason, 'Monsieur Lazhar' is not only one of the finest films of this type (perhaps the best since the masterful 'Au Revoir Les Enfants') but it is also one of the most important. Indeed, it should be compulsory viewing for all adult groups interacting with children.

'Monsieur Lazhar' does what good films do best. It takes the viewer on a journey that is complex and fraught with problems but also great rewards. The final scene is almost as powerful as that of '400 Blows' and, like that film, this one will live long in viewers' memories, invoking debate and contemplation. It should not be missed. Phil Burrows.