This 1995 production is in current release as part of a retrospective of Maurice Pialat films. It was the last film directed by Pialat, who died in 2003. Somewhat autobiographical in content, "Le Garcu" concerns the mid-life of a self-possessed man, who is attempting to outrun his younger days, sometimes with self-delusion.

Gerard and Sophie (Gerard Depardieu and Geraldine Paihas), a not so happily married couple with a young son named Antoine (Antoine Pialat) lives a sophisticated and somewhat complicated life in Paris. They shop at upscale designer stores and vacation in the islands where the service is hand and foot. The rose is off the bloom, as the mystery and frequency of hot sex has been interrupted by a pregnancy and a demanding and precocious child, who runs everywhere at full speed, screaming at the top of his lungs.

Sophie has some emotional issues that are probably related to Gerard’s lust for other women. When he wants to make love to her, she’s often in an emotionally dark place. When she’s hot for him, he’s either away on business or on the phone with his mistress, Cathy (Fabienne Babe, now that’s a name if we ever heard one).

Gerard is not a person that is easy to like. Fatherhood has come later in life for him, and he’s jealous of anyone his son likes to spend time with. He attempts to buy his son’s love and attention with costly gifts and overindulgence, though he’s often involved with business or his lover, or even his former wife, Micheline (Elisabeth Depardieu). Gerard is obviously a bit older than Sophie. He’s oafish and verbally abusive to her as well. When he moves out on Sophie, he goes to Micheline’s house. He’s not there to seek comfort but to use her only for what he wants, room and a bed. Gerard even calls Cathy to join him at Micheline’s, and when Cathy arrives she promptly disrobes and jumps in the sack with Gerard, as Micheline raves in the bedroom door.

Gerard laments to his friend Jeannot (Dominique Rocheteau), while in the bar at a hotel where they are at a business conference, that the pretty female pharmaceutical reps, who all look like models, are there to have sex with doctors so they will buy their products. Later, when Gerard slips into bed with Sophie, in the wee small hours of the morning, he unceremoniously gives her a drill sergeant slap on her naked rear end so she will stop snoring.

Gerard’s father is dying, and he and Sophie travel to his hometown to see him for the last time. When they return to Paris, Jeannot, who has moved in with Sophie, is upset because she has not called for three days. This film is not a flattering portrait of French men. "Look at Me" is another film, in current release that provides a critical view of the French bourgeoisie.

Quick-cut editing takes you from one location and situation to another, sometimes requiring that your mind fill in the gaps. From time to time, the subtitles are difficult to read because they are printed in white over a background that provides very little contract. This seems inexcusable when there are great subtitles in the current films "The Other Side of the Street" and "Kung Fu Hustle."

In the end, Gerard and Sophie care for each other again. Although the movie concludes at that point, one believes that nothing really has changed. It’s a family affair, as Pialat’s wife, Sylvie Danton, co-wrote the screenplay with him, and their son, Antoine is the young boy in the film. Depardieu’s former wife, Elisabeth, co-stars as Gerard’s ex-wife Micheline on-screen as well. Art imitating life. We hope it was also therapeutic.

Like many American cinephiles, we have only recently discovered French director Maurice Pialat. Although we liked this film, it’s not in the same league as "House in the Woods." That said, if this is an example of one of his lesser films, we for sure want to see his others. When a retrospective of his films comes to your city, we suggest you see as many as you can. You won’t be disappointed.