dave_caveman
The first impression of this movie is of a pretty little French film with a very pretty little Audrey Tautou playing a character called Emilie. And if that doesn't remind you of the French classic Amelie, nothing will.So far, so good.One day, Emilie receives a romantic letter from co-worker Jean (don't get excited, Jean is a guy's name in France). However, as the letter is sent anonymously, Emilie bins it, assuming it to be from some crazy old customer.A little later, Emilie realises that her mother is very depressed about her love life, which will only be made worse when she finds out her father is planning to remarry. And so, Emilie innocently decides to pass on the love letter to her mother to cheer her up
obviously nothing could possibly go wrong. Until her mother gets upset that a second letter hasn't been sent
This film had all the ingredients to be a really nice film (i.e. Audrey Tautou), but as it progresses any trace of innocence is stripped away layer by layer. By the time we reach the end, the lies being told have nothing remotely "beautiful" about them. They're just cruel and twisted.First impressions can be deceiving.
kosmasp
This is a light romantic comedy from France that actually does have a few edges. Which means it's not too straightforward, but it also means that it has some story developments that might not be to your liking. Especially if you believe the cover text (about this having the heights of Amelie).Do not even think about Amelie (it might seem difficult but our Amelie sweetheart is capable of being someone else too), because this will spoil your movie experience. I liked this a lot because, the characters seem so real and therefor you really feel for the people/characters and what they are going through. Not everyones taste obviously this is a nice touch on a genre :o)
robert-642
Is it a coincidence that Ms. Tautou is named Émilie (sounds like Amélie)? Is it a coincidence that she has the same gamin-tomboy look with her cropped hair as Amelie? Somehow I think it is intentional.Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.
writers_reign
Pierre Salvadori is too good a writer director to have to 'steal' from others but alas that's what's happened here - to a certain extent. Back in 1999 Tonie Marshall wrote and directed Venus Beaute' which centred on the Beauty Salon of the title and three of its employees, all looking for, rejecting and/or finding love. Nathalie Baye had the lion's share of screen time as the senior of the three employees, the other two being Mathilde Sagnier and a young actress who had caught Marshall's eye, Audrey Tautou, whom she cast as the youngest of the three. The film picked up several awards including no less than three Cesars (the French Oscars) for Best Film, Best Director, and Best Newcomer, Tautou. Now, eleven years later Salvadori casts Tautou as the owner of a hairdressing salon anxious to secure a love life for her mother, none other than Nathalie Baye. Technically Salvadori made two mistakes because Baye walks away with the picture from under the nose of the 'star' Tautou. To be fair Baye is one of the finest French actresses of her generation and has walked away with more pictures than Tautou has appeared in. Salvadori, of course, worked with Tautou on Hord de Prix (Priceless outside France) which scored at the box office despite a dubious premise which it really needed Billy Wilder to get away with. This time around Tautou is noticeably losing the bloom of youth which has been her stock in trade for so long - as well she might at 35 - and appears to be straining at times to look cute. On the other hand plots like this - mistaken identity involving romance - are mere finger exercises for French movie makers so there is a certain amount of charm and skill on display but the best thing about it by a country kilometre is Baye.
AD
