Die Liebenden - Von der Last, glücklich zu sein

Way way way too long. The nearly three hour run-time is longer than all the parking meters in the area of the theater, so i even risked a parking ticket to see the end of this flick! Lots of actors from a previous Honore musical: "Love Songs" (which ran a respectable 100 minutes). Sagnier gets the movie off the ground and then Deneuve sinks it. Mastroianni also greatly helps toward its floundering. I suppose most blame should be heaped on either the director or producers for allowing this thing to go to distribution in its present state. There might be a decent musical in there somewhere. Ludivine Sagnier is one of the many attractive gems of European Leading Ladies of the cinema. She and Isabelle Huppert are my favorite French Actresses nowadays. It's always tricky to cross generational lines and use different actors for the same character in different stages in life. Even the most forgiving viewer might find himself at odds reconciling the tall handsome young "Jaromil" with his older version, regardless of how well and charming the part was played. If you liked "Love Songs" then you will feel at home with the Alex Beaupain score.

The problem with this film is Christophe Honoré. A 2 and ½ hour film about self-indulgent people explaining why they are unhappy at being self-indulgent. It could have been done one hour shorter. The half musical score is a feeble attempt to be the the Umbrellas of Cherbourg. Trying to be French new wave cool instead of being good. I'm convinced Christophe would have tried to make a musical out of Cloud Atlas. I love the cast but after 2 and ½ hours I was wishing they would take an overdose and end my suffering and theirs. Catherine Deneuve, always beautiful and her daughter in film and real life, Chiara Mastroianni, convincing as a seductress, but they were the only high points in the film for me. I rate this film a good sleep aide..

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.

This film has a great look and the acting is good and engaging. I don't understand why it is a musical? I should clarify that I am not a fan of musicals, especially when the song comes out of no where. Give me "Cabaret," "Judy," or "Nine." Those are superb musicals that make sense, ever number happens on stage, and in the case of "Nine," in the imagination of the director who is struggling with writer's block.

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.