Hors de prix

Audrey Tautou, the sweetheart of France (and, to me, the rest of the world), returns to the romantic comedy in 'Hors de Prix' aka 'Priceless,' a film by Pierre Salvadori ('Après vous...' (2003)).

Tautou plays a different type of role (in the same type of film) as swindler Irène who uses her sexuality to make men keep her satisfied (materialistically). Her plans go awry when she's left by her rich fiancé and runs to the arms of whom she assumes is a rich business man, Jean (Gad Elmaleh). Unfortunately for Irène, however, Jean is merely a hotel worker who just happened to be at the right place at the right time.

Surprisingly (as she's regularly one of the most attractive women in the world), Audrey looks better than ever. Not only does she have her typical 'adorable' going for her, but here she's extremely sexy as well.

The story is charming and cute, but has a bit of a bite to it. It's questionable as to exactly WHY Jean would like Irène so much with as cruel as she is. . . sure, she's drop-dead gorgeous, but Jean didn't really seem, to me, the type that would fall for something like that. Oh well, can't have everything spoonfed to us and we must take it as given. There are many laugh-out-loud moments, mostly from Jean's awkwardness playing off Irène's smoothness. And it all turns out to be a very pleasant & entertaining romantic comedy that's sure to treat fans of the genre well.

Final Verdict: 8/10.

-AP3-

The film grants you 1 hour and 40 minutes of pleasure and fun, watching how the sparkling champagne girl Audrey Tautou polishes up the rough cub presented by Gad Elmaleh, an actor who in his own strange way possesses some kind of irresistible charm. It is also amazing how easy and encouragingly the movie interprets the profession of a modern hooker, turning it into a free-and-easy glamorous lifestyle.

Hors de prix is a commercial entertainment; however, it is undoubtedly a well done piece of art. Let's not forget that more or less everyone is able to make an original authorfilm, whilst it takes an effort to create a genre work of quality. I am thankful to the director who has convinced me that there still are some people who live and love truly and do not hesitate to give their last Euro away to buy ten seconds of happiness.

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 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.