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Okay, not everything, but it feels that way. Single parenthood and new relationships. Maternal dedication and sibling jealousy. Unwanted fame and cutting the apron strings and personal freedom and, you get the point. But for all the apparent commentary, you're still left wondering about Ozon's storytelling purpose. In total, Ricky is often mysterious and wonderful, sometimes murky and frustrating.
Ricky is the child of single mom Katie (Alexandra Lamy) and newfound boyfriend Paco (Sergi López, the captain in Pan's Labyrinth), and his birth comes as a surprise to viewers only; Ozon initially sets up a relationship triangle between Katie, her young daughter Lisa (Mélusine Mayance) and Paco. But when Ricky quietly arrives, we realize we've suddenly leaped ahead nine months without warning. Since we barely know enough about the trio involved, we're unable to make judgment calls about their actions and reactions. It gives Ricky a slightly dangerous, disquieting feel.
The anxiety builds when Paco appears disinterested in his new son during their first few days alone. After quickly caring for Ricky, Paco practically dismisses him, placing him in his crib with 'There, now go to sleep.' Any parent will cringe watching active little Ricky kick his legs in defiance, needing love and play time. And if you don't know the film's path, the feeling of impending doom can be one of brutal discomfort.
When sores begin surfacing on Ricky's shoulder blades, Katie freaks and rightfully so. The adults' relationship starts disintegrating -- and the baby's identity begins changing. Drastically. But instead of something intimidating or evil (as in most movies about oddball babies), Ricky's change has a certain loveliness, a playful beauty the little one is barely aware of. (No spoilers here.)
Some of Ozon's strongest scenes involve his smallest actor simply being a baby, surrounded by actors catering to his whims, talking to and caring for him, while some level of special effects play a role in the scene. Whatever the logistics, these sequences can be wonderful, with a unique, engaging ease intended for smiles.
When Ozon moves the story along, the film's emotional subtleties get eaten up by overly simplistic -- and all-too-convenient -- plot points. In one scene, Ricky, clearly a baby of special attention, goes off on his own because mother and sister aren't watching him in a crowded store. Huh? That's where Ozon asks us to suspend a little too much disbelief.
By the final act, Ozon offers a minor take on kids and media meddling (Hi Jon and Kate!), within his context of fairy tale theater. To a certain point, he invites his strong lead actors to give their characters mood and weight, but demands they let it go and simplify their world as Ricky heads toward its strange conclusion. There's still a bit of magic there. But also a little confusion about decisions made and meanings intended.
Oh Ricky, you're so fine...
