Schöne Venus

This stars Nathalie Baye, not Audrey Tautou, of Amélie (2001) fame. (She has a supporting role.) Baye is Angèle, a 40-year-old Parisian beautician who has loved and lost a few too many times. Indeed, as the film opens we (and Samuel Le Bihan as Antoine) watch and hear her being dumped once again. Well, she is careless with men. She is perhaps too "easy." She picks up men, the wrong ones. She is aggressive in her desire. And now she has become cynical. All she wants now are one-nights stands, no more love, no more unbreak my heart. Love is too painful.

So when Antoine falls in love with her at something like first sight (I do have a weakness for love at first sight: it is so, so daring, and so, shall we say, unpredictable) she rejects him out of hand even though he is a vital and handsome artist, confident and winning. What IS her problem? But he pursues her even though he is engaged to another (Hélène Fillières). And when she gets drunk and wants some casual sex with him, he says no. He wants her fully in control of her faculties.

So this is a romantic comedy of sorts centered around a beauty parlor. However any resemblance to Hollywood movies in the same genre (Shampoo (1975) and Hairspray (1988) somehow come to mind) is purely coincidental. Here the salon is brightly and colorfully lit with a tinker bell as the door opens, and the clientele are eclectic to say the least: an exhibitionist who arrives in a raincoat and nothing else; a rich old man lusting after Tautou; a woman with oozing pimples on her...(never mind)...etc.

What makes this work so well is a completely winning performance by Baye, sharp direction by Toni Marshall, and a kind of quirky and blunt realism that eschews all cliché. Tautou fans will be disappointed in her modest part, but she is just adorable in that role. The voyeur scene in which she is willingly seduced by the rich old guy may raise your libido or your envy depending on where you're coming from. Ha!

See this for Nathalie Baye who gives the performance of a lifetime, simultaneously subtle and strong, vulnerable and willful. She makes us identify with her character and she makes us wish her love.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Venus Beauté Institut is clearly one of the best films of the year in France, and not due to the fact it won the César as best film; it truly is a good film, contrary to what many people think. For starters the film has an excellent screenplay, and everything fits in quite nicely. It was very well directed by Tonie Marshall, in a simple, efficient and clear way (if you're looking for flashy directing look elsewhere). The story is also quite simple, but anyone (including men) can relate to it, for it deals with the most common human emotions: love, loneliness, friendship, sorrow, and happiness; and what's truly inspiring is the simple and humorous way these emotions have been conveyed. As for the acting, I can only say one thing: what an incredible cast. Nathalie Baye was superb as the lonely Angèle, and the entire supporting cast is excellent: the socialite and oppressive Madame Nadine (Bulle Ogier), the sweet and naive Marie (Audrey Tautou), the troubled Samanthe (Mathilde Seigner), and the breathtaking Madame Buisse (Claire Nadeau). Also, this is not the typical art house French film that many people detest, it is a very simple human statement, wonderfully taken to the screen.

I recommend it.

This movie has some fine acting. It is driven by character rather than plot. Nathalie Baye, as Angèle, plays a 40ish beautician in Paris. She has had a traumatic childhood and has been burned in love so she limits herself to one-night stands where she is in the driver's seat. Then a man obsessively falls for her and she has to decide whether to open up to love, or at least the possibility of it. This does not play out quite the way it would if this were a Hollywood high concept movie.

There are many minor characters, affectionately drawn. Some pieces of Angèle's past never quite get explained or resolved, which some people might complain about, but, hey, life is a lot like that.

This film is set in Paris, right before and right after Christmas. (I also saw "La Buche" at the same theater, also set in Paris at Christmas, also very good)

The jazzy score is particularly nice.

This is not exactly an upbeat Christmas movie, but it's well worth seeing.

A parade of interesting characters walk through this beauty parlor usually convinced that all that matters is the external self. While the workers service their customer's outside's, the workers go about dealing with their inner feelings and emotions.

Which is more important? When the camera is in the "institute", things are pink and alive, but superficial. When the camera is outside, thing get much more dreary, but more emotionally satisfying.

May be both things count equally.

"Venus Beauty Institute" tells of 40+ Angele (Baye), who prefers one night stands or "flings", as she calls them, to normal heterosexual relationships and love, and her lack of success with men. In addition to never being given a reason to care about Angele one way or the other, the audience will find much of this film dedicated to superfluous girl talk about the this and that of their lives and vocations. Inconclusive and muddled, "VBI" has little to offer save some fine performances which seems wasted on a trite and useless story.