lycosferos
I kept waiting for this film to improve, but, alack, this is the worst kind of escapist movie: a spun-sugar confection that sinks under the weight of its own ponderous self-importance. The pace stumbles on like a legionnaire stranded in the Sahara. The absence of good dialogue leaves the appealing stars with little to do other than look good in white linen. Irons plays yet another moneyed charmer who's had a touch of the sun. Kaas is a pleasing singer but not much of an actress. Luckily, the script does not often call on her to emote away from the jazz club microphone. All the enviably relaxed, pretty, unnecessary characters take turns masticating the scenery with an air of weary sophistication. The whole exercise comes across like an interminably long Ralph Lauren ad. If you're past forty and believe Francophilia is the key to sophistication, you may well mistake this piece of cardboard for a baguette. Well, if you liked this movie you probably felt smart for appreciating Godard's leaden Éloge de l'amour, and you may even have sat through Le Divorce without cringing.
kvits
I do not see what is the whole deal about this movie. Patricia Kaas sings, yes, and that makes the film charming, but singing is not enough. I mean, if you want to get all benefits of this one, go buy Patricia's CD and enjoy! The plot is simple (if to omit the "dreams"); the main characters seem to love each other instantly, and as well instantly forget their other acquaintances. Relationships appear almost "mandatory", and the little "detective story" thrown in just makes things worse. What at first appeared to be a perfect movie ending, is first screwed up and then comes out as just a dream. I measure movies by how well I would remember them, and for this one, I already started to forget the details.
dlkumler-2
Check this out on Sundance; it's all about the eyes and the music. Irons and Kass, speak with their eyes and Lelouch gets it all. Kass's voice and eyes take "lounge singing" to a whole new and great place. The non-lineal mix of fantasy and reality worked for me, as did the interweaving of Kass's songs and the Moroccan scene. As an American I enjoyed the fact that the actors spoke their lines in whatever language worked: the Italians spoke Italian among themselves, French to Moroccans, the Moroccans Arabic and French, & of course, Jeremy's French was more than passable. Were that I were as comfortable in multiple languages--it says we can all be hospitable and get beyond what we were born with.
gironwood
And Now Ladies and Gentlemen captures from the start--artistic, well- written, well-directed, and underscored with the rich, languid jazz of Patricia Kaas who will surely become more accessible to Americans with this film.The love story is first degree, without Hollywood schmaltz. Starting with Jeremy Irons delicious tricks of thievery, segueing to Patricia Kaas's nightclub duet and solos, the director moves us seamlessly from one character to the other. We discover them--who they are, what they suffer, and how they will meet and connect.The director's brilliant use of Kaas's vocals to effortlessly glues these vignettes together becomes the film's best asset, beginning with them far apart, gradually moving these fascinating creatures closer and closer, until we can taste the sand and feel the parched, thirsty souls. Destiny builds from a dream to filmy reality. Irresistible. Intimate. Broad and beautiful. The score haunts you for weeks. A must see--must own. We want the soundtrack!
AD
