I really liked this film despite it being, at times, preachy. Having been a social worker and now a school teacher and having worked with many dysfunctional families like the ones portrayed in the film, I could definitely relate to the overwhelmed and well-meaning kindergarten director. Although set in France, it sure looked like some of our American schools because of child abuse, substance abuse as well as an overly bureaucratic system that didn't seem to do anything to help. The acting was also a standout, as the characters were very believable and it looked in many ways more like a documentary starring real people than a film. About the only negatives I could see were the preachiness of the film at times and also the apparent message that more money needs to be spent to deal with these problems. Although having become VERY jaded by my experiences in the field, I don't think money is the answer but enforcing accountability by the politicians, social workers, parents and teachers is the key. As we see in the movie, it's VERY easy to come with excuses why NOT to work for change but actually doing something takes someone special.

If we see the movie by Bertrand Tavernier, we could draw a conclusion that schools nowadays in France are worse than let us say before the First World War. Apparently there are not sufficient financial means for the schools and the teachers are confronted with the enormous task of holding everything together. The schoolmaster Daniël Lefebre (Philippe Torreton) manages to be as well a celebration-organizer, a social worker, a psycho-therapeutist, a pediatrist and ... a good teacher. Does he have a private life? He must be an idealist. As long as such people continue to work for the good of the upcoming youth, our civilization has less chances to fall apart. This movie is an encouragement for all good teachers in the world.

Don't settle down for a comfortable couple of hours easy entertainment. This film carries a message and it will thrash you with it. This is not a film with a stylised story set out in the classical beginning-middle-ending formula; it is a film which swings from scene to scene, at times hectically, with splendid unrehearsed sequences shot with continual changes and panning at frequently too high speed, swinging from schoolmaster to clusters of young faces, zooming in on one, lifting up to worried mothers bursting in, and back down to the schoolmaster, at trepidating speed, breathlessly, at whatever price, because the important thing was to get it all as it happened, how it happened; no way of organising thirty little kids to do the scene again: it would be just too artificial and useless. The price is some lack of focussing, but it is worth the end result: Alain Choquart under Tavernier's orders achieves something monumental, something magical as his agility with the camera swoops around the school capturing every taut smile, every nervous finger-twisting, the first tears from a hysterical mother... Bertrand Tavernier comes out of that French school of film-making to which he adhered for most of his earlier output and from which he tried to break away with risky excursions into adventure cinema in 'La Fille DE D'Artagnan' (which must have worried Alexandre Dumas) and 'Capitaine Conan' (which must have worried quite a lot of people), as if in a desperate attempt to reach Hollywood-tradition epic proportions.With 'Ça commence aujourd'hui' everything comes back to earth with a rather nasty bump: Tavernier gets down to the gritty bits of sordid suburbs on the edge of an industrial city (Lille) where in most families the father of the household is either out of work, or drunk, or both, or has run away; the local schoolmaster takes it on himself to fill the rôle of father, a job which Phillipe Torreton carries out brilliantly, aided and abetted by his girl-friend, Maria Pitarresi, who doesn't. But perhaps the brilliance of the film resides in the sheer pace, as the cameraman has to keep his wits about him so as not to lose those gestures, in what must be the nearest thing to live, unrehearsed cinema: above all in the rapid shots among the small children, where there is no acting or interpretation - it is all too direct, too immediate for any kind of infantile amateur acting classes.There may be a few technical weaknesses due to the way in which the film just had to be made, but the end result is monumental, a brilliant though agonising document. Every European politician should be forced to see it: maybe a few of them would wake up and decide to do something useful.

French realism must be the worst film category anyone has come up with so far. But this is a far too important and well done movie to give a bad review. It is a good movie, but it is rather boring and all it does is to say that France sucks and I have gotten the point many movies ago. I sure hope someone will save France soon so they can make some entertaining and happy movies. - 6/10