The two men have at least one thing in common: They deal a lot with death. While Igor (Alexander Julian), a physically disabled vegetable delivery man, filled the books of philosophers at night, Louis (Bernard Campan) worked as an undertaker. But that’s all they have in common – until Louis drives Igor between two work dates. Out of a sense of responsibility, he accompanies the air philosopher to the hospital and hopes to end the accident. But Igor realized that Louis would be the right friend for him and set out with him on a journey in his heart – at first without Louis noticing anything about her.
It wasn’t clear from the start that the movie would be a road movie. Instead, Alexandre Julian and Bernard Campan initially planned to make a documentary about Julian, who has a physical disability and works as a philosopher and author. finally became”Happiness on a scale from 1 to 10“But it is a feature film in which the directors, who are also good friends in real life, play the lead roles themselves. There is still a certain natural documentary touch: for example, The Undertaker’s career is calmly and meticulously examined: you see Louis talking to relatives, choosing Pictures or coffins, he puts makeup on the dead and cleans the crematorium.These moments are neither dramatic nor comedic, but instead offer intimate insights into the protagonist’s world.
The same applies to Julian’s character: Igor is neither pathetic nor amusing, but he draws the viewer’s attention with his own prejudices. Through their film, the participants wanted to show that a physically disabled person does not have to be mentally retarded – and they succeeded. But because of the documentary gesture, the 90-minute film lacks some of the friction for a movie: When Louis finds Igor in his heart, that fact is accepted very quickly—and even the clashes of feuding families become sympathetic. straight end. Because of this lack of conflict, the characters’ developments – Louis’s decision to continue taking a stealth flight with him, or Igor’s decreased fear of illness – aren’t always understood.
Here the characters themselves are gently interacting with each other, rather than some twists and turns being thrown at them from the outside. Anyone who expects euphoria, tears, or tantrums in a movie will be disappointed with “happiness on a scale of 1 to 10.” Perhaps this is also the central difference from the similar crowd “Ziemlich BesteFreunde”, which at least the scene at the police checkpoint is reproduced very well. Instead, Julian and Campan rely on a calm temperament, a definite sensitivity to feelings and words that require getting used to at first. After all, who constantly quotes Sartre and Nietzsche in everyday life?
The film also navigates a slightly used terrain with a sex scene between Igor and a sex worker, which is played out sensibly and is very sensitive. Within a few minutes, Marie Benati succeeds in portraying a deep and loving woman who, unlike many prostitutes, is not weak or broken. Campan and Julien should also be commended here, for not giving their characters any firm strengths or weaknesses. In particular, The Undertaker’s workaholic character could have degraded into a classic “old white man.” Instead, the movie shows a gentle but reclusive person whose story and hopes fully unfold at the end.
The ending doesn’t deteriorate or get stuck in kitsch either. Instead, the movie stays true to itself in terms of mood and comedy until the credits are out. At the end the two men jump into the water together and one thinks of what one thinks at best even after the funeral: how nice it would be to be alive…
Synopsis: “Happiness on a scale from 1 to 10” is a calm, sensitive and sensitive film that breaks prejudices and opens new worlds of life. Without a lot of drama, it’s all about what makes life worth living, which is change and friendship.