EDITO – These Enfoirés whom we love… to criticize

Why do so many of us watch Les Enfoirés (on TF1) each year when the artists themselves sometimes seem to have to justify their participation? For the 10th year, we asked ourselves the question and tried to answer it.

Already, what is amusing is that depending on the performers, either we finally understand certain words that had escaped us after having nevertheless been playing in our ears for months or even years (conversely, we have the demonstration of why certain French artists should never sing in English), or we think we are re-discovering hits in another language… Ah no, as much for us, it was the original in French… with a forced accent or an approximate diction ( we don’t really know) of an artist who likes to say that he is “apart, with a style” of his own (but no voice). And we want to tell him: you’re just here to sing well man and play it as a team…

But let’s move on to the good little surprises. Like when you think you’re coming to a moment of “embarrassment” when actor-director Philippe Lacheau launches into the first act of a musical about divorce and you begin to appreciate the moment when Sofia Essaïdi (just to finally hear again we were not unhappy with the evening) sings (very nicely) the “point G” (it’s like Nolwenn, everything his voice touches turns to gold).

What is also good with Les Enfoirés is that the program allows us, each year, to review our “classics”. Certainly from the repertoire of French song, but above all, through a “Who is this? ” giant. Missing more than Marie-Ange Nardi and it would be the revival of “Who is who? ! As there are always more of them on stage – and in costume too!, enough to tease the less physiognomists – it can be interesting that certain faces remind you of you, either because you no longer know when you saw them for the last times, either because you don’t know if you’ve ever come across them on your television, or because you “confuse them with all these newcomers who don’t have a last name”… And, casually, in scrabble people, it can be worth a lot of points. Example: if we add two letters to Zaz (with his “joy” and his “good mood”) that makes… Zazie.

On the other hand, what we still haven’t understood is how the coach of the Enfoirés, not Coluche or Goldman, therefore, composes his team. In space (Pesquet), on sports fields and on the box office list (the cast of “Alibi.com”), but obviously not always where he should be looking: in packed concert halls .

So why are we watching Les Enfoirés? Because that evening, on France 3, there was a beautiful rerun of the shows of the masters in terms of entertainment sung on TV, those of the Carpentiers. Because, well, first of all, the Carpentiers are no longer, unfortunately. Then, because we all have different darlings among the Enfoirés troupe (perhaps less and less for the old ones) – but in the end, we all agree that one or two moments of emotion that will have really made it worth ignoring these singers (or others) that you can’t kill. There will always be this little newcomer (Mentissa on “All machines have a heart”) in a splendid setting that will make us say “long live the Enfoirés” and these very old ones (Jane Birkin as a gest star and Julien Clerc who we have hardly seen) which will always make us say that it was better before.

Yes, because before, we bought DVDs en masse and that meant more money for restaurants. Today, we just hope for the good cause that TF1 has negotiated the price of pubs for this Friday evening as well as those during the World Cup…

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