Reviews

Although I did not read each and every comments that were made about this movie, I'm a bit distraught that nobody made the relation with the original plot of La Dame aux camélias (Alexandre Dumas Fils = La Bohème).

Also, it is evident that Luhrmann saw the 1959 French Can Can, a beautiful if naive movie about... Le Moulin Rouge. It was in this movie that I heard for the first time La Complainte de la butte, originally written for the film by Jean Renoir himself, and sung by Rufus Wainwright in Moulin Rouge (although you don't really hear it in the movie, it is on the soundtrack).

I fell in love with that song when I was 10. It is one of the most beautiful love song I have ever heard. I use to sing it to my baby daughter to put her to sleep and now that she is five, she is singing it herself, and love it as well.

I realize this is not much of a appreciation of the film (I must say I loved it but I would have loved it more if the Duke had been played by Alan Rickman)but I think it is worth mentioning that Luhrmann knows is subject well enough to pay an homage to the master and to one of my most cherished musical memory. For that, I thank him from the bottom of my heart.

One of the most original film experiences of the 70s is certainly French. Série noire is distinctive in its narrative and the form is never overwhelming the content.

Although most of it seems improvised, it is always surprising to learn that all of it was written down to the last word by Perec.

The most fascinating aspect of this movie is the angle of "harsh realism" that Corneau chose to tell the story. No external music is polluting the grimy atmosphere depicted with true to life colors and textures. And yet, it is one of the most romantic movie - in the purest form of the genre - that one can wish for.

And how can anyone not be touched by the late Patrick Deweare acting. It has been said that this movie took such a toll on the actor that some are almost suggesting that it was the starting point of his depressive state. It is truly a very moving, strong performance, full of surprise and nuance, almost so strong that it is unbearable to watch.

For those who are searching for a new kind of film making and acting, Série noire is certainly one of the best movies to provide such an experience.

This truly funny and very well written - by Dabadie - comedy directed by Yves Robert is certainly one of the funniest movies I've ever seen. It is also one that I enjoy seeing again and again.

Where the pretext for the story is really just what it is - a pretext - the most interesting part is the relationships that fuels the friendship between four men entangled in very difficult "rapport" with women. The funniest one certainly being the mother-son relationship that is in fact a true love story, that goes on between Guy Bedos and Marthe Villalonga. The scenes between those two are real anthology pieces.

The secondary roles are also very attaching, particularly the one held by Christophe Bourseiller.

All in all, this "coup de foudre" turned bad, told in voice over with amazing wit and elegance by Jean Rochefort is a classic that stands alone in the face of very mediocre French comedies.

The sequel - Nous irons tous au paradis - is also very enjoyable.

It seems like nobody noticed that right in the middle of this "movie", "they" changed the main actress. Not only that, they changed her right in the middle of a scene!

While our damsel in distress is tied to a pole (which actually is most of the `film') they cut away at some point and when we come back to her, IT IS NOT THE SAME GIRL! It is another actress with a badly done wig.

The next scene, you suddenly get it. The girl that was tied to the pole had to do her dance because she is the Golden Stripper.

That is probably the most weird thing I ever witness, short of a penguin passing through a scene in Terror in Tiny Town.

It is still worth a glance (ah! the newlywed dance, provider of many laughs), as long as your finger is stuck to the fast forward button.