The movie is about a rich man who is paralyzed in an accident and hires an ex-con from the 'hood as his all-purpose live-in assistant. The fish-out-water pair become friends and Mr. Rich Guy gets his mojo back thanks to the other man's down-to-earth love of life. Poor guy learns to appreciate nice things and classical music. Rich guy learns to enjoy Earth Wind and Fire. The rich man is white, the poor guy is black.
French viewers loved it. American critics saw the servant part as a classic Magic Negro. David Denby, in The New Yorker, for example, complained that the movie is "disastrously condescending: the black man, who’s crude, sexy, and a great dancer, liberates the frozen white man. The film is an embarrassment." Similarly Jay Weissberg in Variety wrote that Driss, the ex-con, "is treated as nothing but a performing monkey (with all the racist associations of such a term), teaching the stuck-up white folk how to get 'down' by replacing Vivaldi with 'Boogie Wonderland' and showing off his moves on the dance floor."
The French reaction to this reaction, as described by Sotinel, must strike Americans as pretty funny. It amounts to this: Oh, yeah, that one guy is black. Leave it to you race-obsessed Americans to pick that up; we hadn't noticed. We didn't really notice that. (Negative French reviews of the film complained that it was hokey, Sotinel writes, but none mentioned skin color.)