Die Liebenden - Von der Last, glücklich zu sein

Catherine Deneuve and her real life daughter, Chiara Mastroianni star in the saga of their lives from the 1960's to 2001. The two are beautiful which is the point: Life is hard even when you are beautiful. The daughter doesn't feel loved. The two men in her life are Paul Schneider and Louis Garrel. Her father loves her. Her mother loves her. Somehow it is not enough. Loudvine Segnier plays the young Deneuve. The repeated refrain is: I can live without you, but I can't live without loving you.

Then it is said that loving another makes you a different person. And when that person is gone, you are still the person you became when you loved each other.

The French know more about love than other cultures. I will try to see this again, because I loved the singing. The lyrics were so simple.

Let's get the hard part out of the way: most Americans are going to hate this movie, so if you're an American, or if you're not an America but your taste runs toward Hollywood blockbusters, don't waste your time watching Beloved and our time reading about how much you hate it. It's a very serious, complex, slow-moving (almost 2½ hours long, with no more than ten seconds of action), lyrical movie about messed up people who break into song at nearly every opportunity; and they're not typical American show tunes, or hip-hop, or rock in any form at all. Even when some of the lyrics are in English, the songs sound French, and I'm sure to 80% of American ears they all sound the same. Unless that prospect intrigues you, or you're already a Christophe Honoré fan, look elsewhere. You won't like this movie. You'll probably hate this movie. You've been warned - you have no excuse now for watching it and then telling us all how much you hate it.

Now for the easy part, because now I'm talking to people who either already love Christophe Honoré's movies or are open-minded and curious enough to give them a shot. Beloved (thank God they've set that wonderful title free from Oprah's maudlin clutches) fits perfectly in line after his marvelous Chansons d'amour (Love Songs) and haunting La belle personne (The Beautiful Person). Each movie in that trio is more complex than the last, and each one is better than almost any movie made by anybody else. Love Songs, especially, has continued to send unexpected waves of joy rolling my way since I first watched it (I just realized) exactly three years ago today.

Love Songs is special to me in part because the core relationship in it is between two men (I'm gay), and it's probably the sexiest, most beautifully realized gay relationship I've ever seen in a movie. One of the leads in Beloved is gay, but none of the core relationships (there are several - as I said, it's more complex) in this movie is gay. I thought that would be a turn-off, but it's not, and here's why: Chiara Mastroianni.

I've seen Mastroianni before (she has a supporting role in Love Songs), and I've even seen her act with her mother (Catherine Deneuve) before, in André Téchiné's Ma saison préférée (My Favorite Season) nearly 20 years ago. I've never seen her carry a whole movie before, as she does this one - and she's fantastic.

She and the gay man connect, sort of - as much as any two people in this complicated movie connect. Normally I'd really hate that, because I'm so sick of gay men in movies hooking up with women I could pull my hair out. But she's so good in this movie - her Véra is such an appealing and interesting character - that I don't mind. Getting to see how good SHE (Mastroianni) is is worth it.

The rest of the cast is great too. Deneuve gets earthier and more accessible every time I see her, which is good because I couldn't stand the Ice Princess she played for the first several decades of her long career. Either she's opened up a lot in the last 15 years or so or directors are finally discovering how good she is playing other kinds of roles.

Louis Garrel, Ludivine Sagnier (both also in Love Songs), Paul Schneider (an American actor I'd never seen before), and Czech director Milos Forman in an acting role for the first time that I've seen - all are very good.

But the star of any Christophe Honoré movie, for me, is Christophe Honoré himself. He takes conventional movie elements - comedy, drama, romance, character study, music, song and others - and weaves them together in fresh and unconventional ways that yet never seem forced or precocious. I wouldn't try to explain anything he does because I wouldn't know how to. All I know to do with his movies is relax, let go, and let him take me for a ride. It's always worth the risk.

This film is remarkable.

Beautifully shot, full of inventions, the film is extremely refreshing as most of Honoré's work. The tone is pop and lighthearted, while addressing unconventional subjects, such as elder's sexuality.

The casting is impeccable as always with Honoré. If the duo Deneuve-Sagnier and the depiction of a female character of that generation had a taste of dejà-vu (Ozon? Todd Haynes?), Honoré managed to make it feel like unexplored territory. But that's with Vera's character that Honoré is at its best. Mastroianni is AMAZING!! You've never seen a woman in her late 30's depicted that way in a movie.

The downturn of the film are the singing parts. It really doesn't work and it's even painful to watch. Other than Jacques Demy's films, one can think of Resnais's "On connait la chanson", Ozon's "8 femmes" or Ducastel & Martineau's "Jeanne et le garçon formidable" as examples of the successful mix of serious subject matters and musical. But with Honoré, it doesn't work (with the exception of the elegant telephone scene with Duris and Preiss in "Dans Paris"). It's tempting to just recommend to skip the singing parts as the film is otherwise quite long.

Other than that, the film is a must see.

Very rarely are movies made about unrequited (one-sided) love and love lost, let alone musicals. It's good and somewhat interesting; though it tests your patience a lot. With the terrific star-cast it has, I expected a lot more. It falls short of a definite and good plot, and it lacks heart.

Catherine Deneuve is not even utilized properly. Ludivine Sagnier is charming; it's amazing how much she has grown up since Ozon's 'Swimming Pool'. And it was delightful to see Paul Schneider in this French musical. The remaining cast just does their job, which is not much.

Even though it's a musical, the songs are quite average. The only song I actually loved is 'Ici Londres (Heaven Knows)', sung by Chiara Mastroianni and Paul Schneider.

I read most of the crass reviews here with a sense of incomprehension. Anyone with eyes to see and a minimum of intelligence should be able to perceive that this is an incredibly ambitious film, and like it or not, it is an excellently made film. There are certain films of Christophe Honore that I do not respond to, and have expressed it in some of my reviews, but he is undoubtedly one of France's greatest directors. This I feel is his most complex and greatest film ( of all that I have seen, which is most ). It disturbs as much as it delights, and my viewing of it fluctuated between the two. My conclusion was it is better to attempt the Mount Everest of loving another than not at all. The cast is perfect and I do not want to single out one over another. But it is the content that makes it so perfect interweaving both historical events in History ( 1960's to this new troubled 21st C ) and the histories of a fully rounded set of characters. Honore's canvas of life and death is full to the brim, and yes there were moments when I was troubled by what I saw; deeply troubled at what people inflict on each other, and mostly in the name of love and love's rejection. The songs sometimes irritated, but the core of feeling is often expressed in music and what a stroke of genius to have Janacek's String Quartet which is entitled ' Intimate Letters ' recur often in the film. I am not sure I will watch this film often because hardened though I think I am it is a vision of life that is not afraid of looking at the worst of life in the face. I also think I saw a final homage to Preminger's ' River of No Return ' which is a misunderstood film in itself. A complex, fine achievement of a film.