The Country Doctor is another of those solid dramas about social issues that are rarely discussed in mainstream anglophone cinema. In French cinema such a drama can attract a major star and, thanks to regional funding, can be shot in a specific rural setting.
Writer-Director Thomas Lilti is also an experienced medical doctor and this is his second recent script featuring doctors. In Hippocrates (2014) the focus was a hospital, but in this new film it’s a rural practice in Île de France, next to the border with Normandy. Jean-Pierre Werner (François Cluzet) has been the local doctor of the title for at least 20 years. Dedicated to his work and able to handle the enormous range of problems his patients present, Dr Werner is well-respected but not universally loved because he is a little tetchy. Perhaps the break-up of his marriage is the reason.
When Dr Werner is discovered to have a medical problem himself, his consultant not only suggests he could use some help, but actually sends Nathalie Delizia (Marianne Denicourt) to him. Nathalie is a former nurse and a hospital doctor with no experience of general practice. She doesn’t enjoy the hospital work and is keen to learn about The rural practice. He resents the intrusion and deliberately sets her difficult tasks. It sounds like a typical genre narrative, perhaps for a romantic comedy. But this is closer to, if not social realism, an observational drama with elements of comedy. Lilti knows about a doctor’s work and he takes us through procedures in detail. I found this fascinating and similar to the Dardennes’ recent The Unknown Girl. Once again, the differences between French (and Belgian) and UK medical practices are revealing — but the similarities of the social problems are also clear. The local mayor might be an over-bearing figure, but he works hard and he recognises that attracting doctors to a rural practice is difficult. Another current issue is the relationship between medicine and social care — a problem across Europe. Lilti has cast a mix of experienced actors and what appear to be non-professionals. Overall, they look and sound like the inhabitants of a French village. Cluzet is his usual professional self and always watchable. Marianne Denicourt is new to me and I thought she was well cast.
Lilti does well to steer clear of using romantic comedy tropes to drive his narrative. That isn’t to say that there isn’t an emotional drama or the possibility of romance, but the focus is more on the range of characters and the social issues. The narrative also had one really surprising sequence. I was puzzled when ‘Ghost Riders in the Sky’ started up on the soundtrack and pleasantly surprised by the next scene. This film offers solid entertainment and something to think about — and a genuine alternative to the endless stream of American awards films.