“The Full Monty: the series”, on Disney +: the big return dressed in Sheffield’s “bare bottoms”

Gaz (Robert Carlyle) in

DISNEY+ – ON DEMAND – SERIES

Huge success in theaters when it was released in 1997, the feature film by Peter Cattaneo, The Full Monty, had in its time confirmed the revival of a certain English social cinema in the form of comedy. Twenty-five years after the triumph of the “bare bottoms” of Sheffield, the former English industrial bastion has never recovered from Thatcherism and the friends in the ditch, who had undressed in front of the local female public to finance their unemployment , always struggling.

This “reboot” has for him to have succeeded in bringing together the entire original cast, which says a lot about the weak career accelerator that Peter Cattaneo’s film was, in the end, for most of its actors. , with the possible exception of Robert Carlyle. We find them here well aged but complete. Some divorced, others married, children were born – Gaz (Carlyle) is a grandfather himself.

Of the fleeting glory of the old amateur Chippendales, nothing remains except the vague feeling of camaraderie that binds the characters together. Two more decades of ultra-liberal deregulation and the destruction of public services have not helped, and since the Chippendales are now out of fashion, this little world lives on allowances, fragile small businesses and more or less shady schemes. Except that unlike the film, no absurd dream, no ridiculously excessive project comes to pull them from the torpor in which they all seem to have fallen.

A juxtaposition of trajectories

This is the main stumbling block on which this serial adaptation crashes, giving the impression of never succeeding in going beyond the exhibition stage. Summed up in a juxtaposition of trajectories – in which, at the time, women and young people occupy a more important part than in the film – the series never really finds its shape and walks slowly without giving the impression of knowing where it is going. .

A priori not towards a big naked finale, in any case, since the sexy, the cocky and self-mockery, trademarks of the film, have deserted in favor of good feelings and inclusion: Gaz has a mixed-race daughter, his grandson is disabled, the shy Lomper is now in a relationship with another man…

Ultra-diluted, the plot will not reconnect with the spirit of the film until very late, and many viewers may have fled in the meantime, put off by the platitude of this pure platform content devoid of imagination and fantasy.

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