Rarely do we see such unanimity of praise for a series of which no one, apart from the designers, has so far seen more than three episodes.
The beautiful discomforts 2.0 are, four years apart, the worthy offspring of a series of 34 episodes that won four Gemini awards in its first season. Then, the Rocky trophy for the best French-speaking series in Banff, in addition to being the subject of a French adaptation with Franck Dubosc on M6.
Netflix, who loves Martin Matte so much that his show Hey there …! is registered in its “Stand-Up Comedy Special” section, The beautiful discomforts available to audiences in France, Belgium and Switzerland.
Despite his whimsical behavior, his haughty expression and his slobbering demeanor (in this Franck Dubosc has nothing to envy him), Martin Matte confides that he still doubts. It is often the lot of designers who ostentatiously give the impression of being the most sure of themselves. I don’t know Martin Matte personally, but I have no doubt that this is his lot. As it is the one of Dubosc with whom I worked a few times at Juste pour rire.
AN EXCEPTIONAL CHALLENGE
Matte risked nothing in writing a “normal” sequel to his Beautiful discomforts. Instead, he chose to put himself in danger. By designing The beautiful discomforts 2.0 from his separation from his legitimate wife, the comedian could not risk more. Writing texts based on such a trying period in your life as a couple and playing your own role on the screen is like trying a quadruple axel in skating or a quadruple twist in gymnastics. In other words, it’s tempting the devil.
Each author cannibalizes his life and that of his relatives, but he does so as a skilful trickster, tampering with circumstances, changing names and places, blurring the tracks, stripping Saint Paul of his qualities to attribute to him the faults of Saint Peter and vice -versa. Above all, each author takes great care to keep the good part and not to become the turkey of the farce.
MASTER OF SELF-MODERISION
Matte, the ultimate coquetry, is a past master in self-mockery. He does not deprive himself of using it throughout the episodes that I have seen and I imagine that it is so until the tenth. This art of self-mockery, which he visibly wields with malicious pleasure, makes us forget that his game is not always up to the task. When he whines like a baby after leaving his children, for example, he is bordering on verisimilitude. Unless it was intended, which would hardly be more appropriate.
I didn’t like everything about these three episodes. One scene, maybe two, are of questionable taste. Others like Martin Matte at the swimming pool with his father (deceased), the one where his mother learns of the separation of the couple and the one where it is the children who learn it could not be fairer, better written or more moving.
Finally, and this is the icing on the sundae, Martin Matte defeats all the new dogmas of rectitude which, in spite of themselves, inhibit today’s creators. The risks are therefore not the exclusive prerogative of Radio-Canada.
► The beautiful discomforts 2.0 at TVA on Wednesdays at 9 p.m.