De vrais mensonges

Beautiful to see these guys getting entangled in the lies. More hilarious at the beginning and then get more serious toward the end, although still amusing. Fun to watch but in real life, I would give them a shake.

Is it a coincidence that Ms. Tautou is named Émilie (sounds like Amélie)? Is it a coincidence that she has the same gamin-tomboy look with her cropped hair as Amelie? Somehow I think it is intentional.

Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.

Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.

The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.

It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.

This is a light romantic comedy from France that actually does have a few edges. Which means it's not too straightforward, but it also means that it has some story developments that might not be to your liking. Especially if you believe the cover text (about this having the heights of Amelie).

Do not even think about Amelie (it might seem difficult but our Amelie sweetheart is capable of being someone else too), because this will spoil your movie experience. I liked this a lot because, the characters seem so real and therefor you really feel for the people/characters and what they are going through. Not everyones taste obviously this is a nice touch on a genre :o)

As usual I won't try to resume the story since so many have done so and much better I'd put it. But our group of Six, three couples enjoyed it thoroughly. We've seen Audrey Tautou in quite a few movies by now and yes we did laugh a lot and sometimes loud. So if some reviewers want to put it down so be it but I think it should not deter anyone else to be well entertain. I get a little amused when I see some of those critics about the story falling in "very predictable" along other criticism. But I seem to remember in my early years around Paris going to the "Comedie Francaise" with our class, and for a "penny" thus perched on the very top of the theater we would laugh our belly out watching plays like "Tartuffe" sometimes corny to the most and predictable to no end but always very funny. Don't quote me on Moliere's Tartuffe as it is simply one of the play title I just remember. The point these were masters plays and their "farces" were very funny too. Although I'm sure one could just as easily pull them a part. Going back to "Beautiful Lies" (and why this language decided this tittle against the French literal translation " 'Some' True Lies)? I think it sustained a good pace and good timing to let us appreciate the humour. I, perhaps, would have like a more speedy and decisive ending once everyone knew what really had happened - however this really would only apply to the last ten minutes. Don't fear go and see it. It'll take your trouble away for the duration!

Set in a world of perpetual sunshine in the south of France, BEAUTIFUL LIES (DE VRAIS MENSONGES) has a plot with distinct echoes of CYRANO DE BERGERAC. Former UNESCO translator Jean (Sami Bouajila), now working in a hairdressing salon, writes an anonymous love-letter to owner Emilie (Audrey Tautou). Although not knowing who the author is, Emilie convinces her mother Maddy (Nathalie Baye) that the letter has been written for her mother's benefit: Emilie subsequently writes two more anonymous love-letters for her mother, pretending that they have come from the same author as the first letter. Further complications ensue, but the story ends happily enough.

Pierre Salvadori's film looks at the gulf separating words from meanings: what the characters say - either in written or spoken discourse - and what they actually mean are often two different things. This is especially true of Emilie, who convinces herself that she is acting in her mother's best interests, but ends up being utterly self-absorbed. Her narcissistic nature is summed up by the frequency of shots where she sits in her office, a bottle of vodka in hand, trying to pen new love-letters for her mother. Emilie comes across as a basically unattractive person; in the pre-credit sequence she is shown cutting the fringe off one of her customer's (Cécile Boland's) hair, even though the customer specifically insists otherwise.

By comparison, Maddy is meant to be represented as an innocent victim - unable to come to terms with her ex-husband's (Daniel Duval's) decision to leave her for a younger woman, her life is in pieces, as she sits on the sofa in a nightdress. The prospect of a younger man falling in love with her gives her renewed energy, so much so that, even when Emilie tells her the truth, Maddy still invites Jean round for a romantic dinner for two. But here's the rub - at the end of the evening she decides to bed Jean, while being perfectly aware of his feelings for Emilie. We are left to wonder why: is Maddy taking revenge on her daughter, or is she at heart as self-interested as Emilie?

For the first four-fifths of DE VRAIS MENSONGES, director Salvadori creates a light-as-gossamer romantic comedy with serious undertones in which gesture assumes as much significance as word. The shot/reverse shot sequences involving Emilie and Jean, where the two of them try their best not to disclose their true feelings for one another, are beautifully handled, as is the sequence where Emilie's tongue-tied employee Paulette (Judith Chemla) tries her best to explain something to Emilie while not looking her in the eye. The ending, however, is a bit of a cop-out - although order is restored, we are left to ponder the (lack of) moral scruples influencing the characters' behavior, even that of Jean. One wonders precisely how women are viewed in this apparently liberal society.