Enamórate de mí

Audrey Tatou is stunning, giving a complex performance as the sexy, conniving, vulnerable and ready to love Irène. The character is a gold-digger reminiscent of that other Audrey, Hepburn, in Breakfast at Tiffany's, and Priceless manages to achieve the same tension of elegance and decadence, playful banter and fraught undertones. There is something very dark about the scene where Irène, dumped by her latest rich beau, and left literally with only the bikini she has on, sits shivering at poolside while the sun sets and the place chances from bathers to dinner jackets. In an instant she goes from queen of her arena to a spectator. It is a complex tone shift few Hollywood (or British) rom-coms manage to attempt, never mind pull off.

Gad Elmaleh as Jean is perfectly love-struck and versatile. Strong support comes from Marie-Christine Adam as the hard but equally self-deluding Madeleine, and Vernon Dobtcheff as Irène's first victim, Jacques. There is something quite grown-up and yet naively innocent about this film, with characters who can do the most awful things but never enough to stop you caring about them. Vivid colour palette, and slickly shot, the music works well, too. Well worth seeing.

With so much rubbish hitting screens across the world it's a breath of fresh air each time a film comes along that treats its audience with respect and acknowledges a level of intelligence and ability to pick up detail without banging us over the head with it. Priceless takes a simple idea that in other hands would have stayed at the simple level and develops layers and folds, shades of grey, as well as some straight up laughs.

Audrey Tautou does wonders with her character, making her lovable one minute and despicable the next but not so much that we hate her. I was amazed at the natural flow with which she delivered her performance. A slight facial expression speaking pages. If I wasn't a fan before, I am now.

Gad Elmaleh delivers a similar performance as he did in the valet, which works perfectly for this movie, luckily. He is really good at what he does, and for those that say he is unbelievable in the lead romantic role, I think he pulled out the charm quite convincingly at the right moments, which is exactly what the feel of the film required. These are not cartoon characters that we know are either good or bad, they're complex, just like real humans who some times we hate, and some times we love. Yay for quality cinema!!

This is a classic case of moral ambivalence. Audrey Tautou, hypnotising us as usual with her big soulful eyes, plays someone of less than salubrious character, in fact a totally amoral gold-digger. The film is actually a study of gold-digging. Gad Elmaleh is the hapless intoxicant, drowning in the beauty of Audrey, a kind of Tautouholic, and who cannot understand that? So he starts out straight and gets sucked into this world of sell yourself for cash, and sticks with it because while they are in the same luxury hotels being paid to be sex toys by rich older people, he gets to spend his spare moments with her. The girlie friendship between them as prostitute colleagues drives him crazy because he loves her, but it is the only way he can be near her. The film has many hilarious moments, if being a prostitute is hilarious, and the story is about whether Audrey will discover what is 'beyond price', namely that thing called love. Audrey's talent for mania comes out especially in the scene where she goes wild with lust for a new dress which she sees for sale. She wants money, she wants things, and ultimately this is a morality tale about whether she can get beyond these delusions. Elmaleh was an excellent choice for the fellow, and he does a superb job in being sensitive and befuddled as he does what a man has gotta do to hang in there somehow. Will she crack? Audrey meanwhile exudes waves of warmth and creates a real individual out of someone who could so easily have been a cardboard cutout character. The screen is awash with her charm, one wants to wade out into that surf, like Elmaleh, knowing that one could easily drown. Will he? Does he? I'm not going to tell. Notch up one more irresistible vehicle for Audrey Tautou as she continues her march through unmissable film after film. But the mystery as to who and what she is deepens, because the more she is exposed to our view, the less we can really see of her, as she is the ultimate chamaeleon, of whom we will always know a diminishing amount as she progressively turns herself into a legend.

Last night my girlfriend dragged me to a chick flick. Fortunately for me, my girl has pretty good taste and it happened to be a French chick flick. Priceless doesn't redefine the genre, but it does prove most European mainstream films have a lot more going for them than most mainstream American films.

"Love conquers all" is certainly not an original theme, yet clichéd or not, this telling feels both fresh and intelligent. Whereas American chick flicks portray women as lonely, hopeless and dying to meet Mr. Right, Priceless establishes its female lead as anything but. Audrey Tautou's Irène is an icy predator, a materialistic bitch with no redeeming qualities other than a great body every designer dress she dons showcases. Here the male lead Jean (Gad Elmaleh) is the hapless and hopeless romantic, who is desperate to melt the ice queen's heart. While this setup might call to mind the Coen Brother's Intolerable Cruelty, it doesn't suffer from IC's achilles heel: aping the films it was inspired by. The Coen's film is an all too obvious tribute to Howard Hawk's screwball romantic comedies, so much so, their respect for Hawk's becomes the very crutch that renders IC lame. Priceless also pays respect to classic French comedies (ie. the films of Louis de Funès and Jacques Tati) but, unlike IC, it never gets bogged down by its influences. Priceless manages to make the old seem new and it is buoyed by its charm, its nuanced writing and the performances of the two leads.

Gad Elmaleh who plays the naïve Jean, not only nails every bit of physical comedy assigned to him, but he also provides Priceless with its heart. You can't help but feel his pain as you see in his eyes the heartache and humiliation inflicted upon him by Tautou's Irène. Throughout the film Elmaleh effortlessly expresses a wide range of emotions and even though the comedy is, at times, broad it never feels contrived and always feels natural.

I'm not going to go over the top and call this a masterpiece, but if you've got to sacrifice some blood and sit through a chick flick after subjecting your better half to a Herzog marathon (as I recently did), then Priceless is the perfect choice.

This film could be called very French. It takes place in the south of France, a playground between/among men and women, has style and is set in stylish places such as hotels and "haut couture" stores.The female character, and even the male one, are amoral but not judged as such by the director and not severely so by the men and women they service. Some of the reviewers have referred to Irene (Audrey Tatou) as a prostitute. This isn't quite correct. She was a courtesan: a professional mistress chosen as much for her companionship in public as well as private. Like most famous courtesans (e.g "La Dame aux Cammillias") she seems to have come from poverty of some sort--and is thus rather tough.And Jean could probably be called a gigolo, though the elderly lady who pampers him has only minimal illusions as to why he's with her. That could be the point: the middle-aged and elderly rich people they play up to are themselves at fault if they want "young stuff" around as companions instead of seeking company their own age. I did like the ending with the Euro.