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The narrative, whose emotional crux is the shifting, troubled relationship between father and son, will bring us back to this point. It starts after World War 2 with the decision of the limitlessly ambitious Cousteau (Lambert Wilson — Of Gods and Men, Sahara) to make a career of underwater documentaries: his ruthless intentions aresignaled early on as he abandons onstage his stammering colleague Tailliez (Laurent Lucas). Having purchased and restored the Calypso, the boat with which his name is synonymous, Cousteau, along with wife Simone (Audrey Tautou), eldest son Jean-Michel (Benjamin Lavernhe), and a crew represented by the mariners ever-faithful sidekick Bebert (Vincent Heneine), set off to explore the oceans, and to bring them into the living rooms, of the world. The forlorn Philippe is abandoned to boarding school, left to cling miserably to a pair of his Dads diving goggles which will later make one appearance too many. After this, things become highly episodic, charting Cousteaus largely untroubled rise and rise as he Gallically charms money from the pockets of various patrons, including, interestingly, the underwater oil sector and, crucially, Americans, presented here in lazy stereotype. Much of it is done via often deja vu musical ellipses, some more cleverly conceived than others. The script charts Cousteaus business successes with only the briefest attention paid to the obstacles standing in his way, the film focusing on Cousteau as businessman more than one any of his other achievements; the occasional lack of cash, an affair which Simone learns about, and a pipe which he briefly adopts, are brushed aside with equal insouciance by both the script and by Cousteau, and do little to engage the viewer with either the man or his story. Thus The Odyssey is more than mere hagiography, but being aware of its subjects multiple faults is not enough to make him compelling as a character. Lambert Wilson, aided by terrific aging make-up and the streamlined, hawkish features that make him look like a highly idealized, tourist portrait version of the original, is convincingly devil-may-care throughout, a throwback to the clipped butderring-do heroes of the 40s.
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