Starring Alexandra Lamy, Sergi Lopez, Melusine Mayance, Arthur Peyret
Ricky would be just another sappy, sentimental film if it weren’t for that opening scene. Where in the film’s chronology does it fall? The middle? The end? Both are completely plausible. The scene in question is one in which working class Katie (Lamy) is speaking to an off camera social worker about being unable to pay rent and care for her two children. Only when the end of the film is reached does the ambiguity of these scene truly surface.
The plot follows Katie who is raising a daughter and working in a chemical factory to make ends meet. One day, she meets new employee Paco (Lopez) and two begin a relationship and Katie ends up pregnant. Katie gives birth to a little boy, Ricky, and slowly but surely Paco makes a run for it when he gets scared. In the meantime, Katie and her daughter discover Ricky growing strange appendages out of his shoulders and finding ways out of his crib and onto the top of an unreachable dresser. Things develop in an odd way from there, ending with paparazzi chasing Katie and her miracle child around. The film has a touch of the bittersweet in its finale and, as I mentioned before about the film’s opening sequence, it can be seen as a downbeat film.
Ozon is balancing realism in his first half with fantasy in the second. It almost feels like two films, yet never loses a consistent style; an admirable achievement. The explanation behind Ricky’s special abilities is never explained and Ozon never shows an interest in explaining it. There are some hints: Paco’s unknown origins or the chemical factory where Katie works. But it doesn’t really matter WHY Ricky is the way he is, but that there is an unquestioning love between he and Katie. Sadly, the film doesn’t delve into this as deeply as it should and fails to earn its finale scene between Katie and Ricky. Overall, an intriguing film from a French director who is doing some stunning work in contemporary cinema.