Pas sur la bouche

This film is about a woman whose husband is not aware that she married an American guy before. Chaos breaks out when the American husband is invited to their home.

The film takes place entirely inside the beautiful residence of a rich couple. Sets are lavish, costumes are dazzlingly beautiful as a result. The songs are fun and got this nostalgic feel to it. The entangled relationships between the seven characters are entertaining to watch, and they kept me intrigued as to how things will turn out between them. Even though it was not easy to catch up with the subtitles, it was still delightful to watch.

"Not on the Lips" is a fun, light hearted, old style musical. I was told that this style is called "operetta", and I am liking my first exposure to operetta.

Alain Resnais, darling of the avant garde, continues his journey back to the mainstream and, let's face it, BEYOND the mainstream, with this lush photography of even lusher decors and costumes by Vanity Fair out of Vogue. Nothing wrong with that, of course, if you can get past the hypocrisy. Here we have, set in the twenties, that old standby the second husband who has to cut a deal with his wife's ex, a sister-in-law and two ingenues thrown in for good measure with everyone breaking into song at the drop of a lorgnette. Pierre Arditi does suave as if he invented it and whether by design or accident contrives to sound like Charles Boyer on medication;Mrs. Resnais, Sabine Azema does style as effortlessly as Astaire and Audrey Tatou has cornered the current market in gorgeous. This should be enough to either encourage or deter you. 6/10

This is classic French farce, very theatrical with a 1920s score, entirely interior sets (best being the 3rd act bachelor pad) and ridiculous intertwining relationships. It is tempting to see it almost as an Amelie remake, complete with lush visuals and two leads from that film. It has the same romantic view of French life, the same emphasis on relationships, the same reliance on a sparkling performance by Tatou. It is slow, and hard to follow with subtitles - you really need to speak French to get much out of this (esp the excruiating accent of the American). Some interesting little touches - the spoken credits at the start (very Godardian!) and the way that characters leaving the stage just vanish. It is very witty, brittle and bright. A curiosity rather than a masterpiece.

If I hadn't read his name on the DVD cover, I never would have suspected that this rather gushy and old fashioned musical was made by a man so closely associated with the French New Wave. In fact, the film is so far from that, that I wonder if back in the 50s and 60s, New Wave auteurs would have absolutely hated this type of film--it's so...so...unreal. And, it seems to have little to do with so many of his previous films. This isn't necessarily a bad thing--just a very surprising thing.

What I also found a bit surprising was the amount of praise some of the reviewers gave this film--especially when there are so many better French musicals out there. The songs in this film were simply not particularly interesting and the characters all seemed so bland and stereotypical. If I had to see another rich person who fretted about how hard it is to be rich or get a good sale price on a designer outfit, I was going to puke.

The bottom line is that like American musicals, not every French musical is gold. This film is not another "Les parapluies de Cherbourg" (UMBRELLAS OF CHERBOURG or "Huit Femmes" (EIGHT WOMEN) and despite the presence of Audrey Tautou, I can't see much reason to recommend it as anything other than a dull oddity.

In my opinion, I didn't know that this was a musical comedy. The French make the best films around with character driven story lines. This film has a first rate cast but I didn't care for Lambert Wilson's performance as the American, Eric Thomson. I did love Isabelle Nanty as Arlette, the old maid. She was perfect and memorable. Arlette's sister, Gilberte, has a problem. She has three men in her life including her unsuspecting second husband who thinks he's her first, her first American husband, Eric Thomson, who comes to Paris on business, and a young male artist/teacher Charly who prefers older women. The film is first rate in art direction, costumes, music, casting, and writing. I felt Lambert Wilson was out of place and out of tune as the American. But still, this film has memorable characters and can cheer you right up.