Why did the United States censor this comedy that in Europe raised 75 million?

‘My God, what have we done to you?’ it premiered in 2014 and was a real hit. Years later, we realize that his plot has not aged very well.

French comedy My God, what have we done to you? It grossed 75 million euros in Europe after its premiere in 2014. Critics in France claimed it was very “fun”, but when it wanted to make its way to the United States, it was met with a very different reaction. Racist, full of stereotypes, not at all funny … Those were the comments that began to emerge in the press passes.

“British and American moviegoers will not be able to see the popular French comedy because it has been rejected by exhibitors, who find it politically incorrect and possibly racist”, reported The Telegraph as a result of the controversy it had generated in the specialized press. Among the criticisms we find that of The Hollywood Reporter, written by Jordan Mintzer, who does not hide his displeasure: “Most of the jokes are extremely harsh: the Jew calls the Arab ‘Arafat’ and then receives a karate attack from the Asian.” It is the same opinion of Variety, which in an article by Elsa Keslassy blames the film for “perpetuating racist stereotypes and fueling the xenophobic environment in France.”

Is it so much? The truth is that a quick glance at the synopsis and the trailer is enough to realize that the premise has aged very badly. Perhaps it was a type of comedy that worked in 2014, but in 2021 the mentality and sensitivity regarding racial representation in the cinema has changed dramatically.

The film starring Christian Clavier, directed by Philippe de Chauveron, is based on a marriage with four daughters who have tried to instill Catholic and traditional values. The first three have married a Muslim, a Jew and a Chinese. They expected the fourth to hang out with a western Frenchman, but she has ended up with a black boy. Yes, Catholic. Not much more information needs to be given to explain the malaise of the American media.

The producer of the film had planned a greater distribution in the United States than it later had, but it was the commercial partners themselves who censored its arrival in theaters in the country. “Our contacts found it politically incorrect,” Sabine Chemaly stated in Point, “Today they would never allow him to laugh at blacks, Jews or Asians. Obviously, they are delighted with the success of the film, but refuse to screen it as is. They know it would generate too much controversy. “

Despite the reception, the American industry wanted to produce a ‘remake’ of the film. Christian Clavier stated that he would be happy to participate if there was a possibility, but that they had not yet “come up with the right idea” to start working on it. Seven years later, there is no news and it seems that the project has remained at the bottom of the drawer.

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