Combien tu m'aimes?

I love French cinema, but I was rather disappointed by this movie. The most positive thing about this movie is beautiful and erotic Bellucci taking her clothes off but the plot is so poor I can't understand Gerard Depardieu playing such a one-dimensional person.

The dialogs are sometimes ridiculous, maybe unintentionally because of the bad German synchronization I watched. It is not enough to play classical opera music instead of creating a convincing dramaturgy and script.

But to mention some positive aspects as well, there are plenty of breathtaking stills like Bellucci sitting in the window of the bar in Pigalle or "Francois" and "Daniela" at the beach, so the movie offers, as French cinema often does, excellent aesthetic quality. Accepting that this is cinema showing totally artificial characters, you might have a good time watching this movie.

Yes, I confess that my approach to this movie was not so enthusiastic, Mrs. Bellucci is not my favorite actress. But the director (Blier) and Gerard Depardieu are a warranty, in my opinion. The movie is a "divertissment" played around a man, who try to buy the love of a magnificent whore(Bellucci), stating he win the price at the lottery,and so offering her a 100 thousand euros per month salary. So, could this indecent proposal buy her love? and what's about the pimp(Depardieu)? The plot has the capacity to stay light, the music helps a lot to accept the events as a play, the life is surprisingly wonderful, love is the mystery. And Monica Bellucci is a full joy, a daydream for all the middle aged, insignificant men searching for a reason to dream.

"How Much Do You Love Me?" revolves around Monica Bellucci's character Daniela and the many different female roles she changes into and out of like so many pieces of clothing. She is definitely a whore and a seductress, but she may or may not also be a girlfriend, a wife, a mistress, an accomplice, and a scam artist. She is at times domineering but at others submissive and weak; at times jealously possessive but at others open and free; at times quiet and pensive but at others loud and raucous. It takes a while for all these different sides of Daniela to appear, but by the end of the film she is changing between them seemingly in the blink of an eye.

Few characters in the movie can resist falling for one or more sides of Daniela, and the audience too will fall in love with the performance Monica Bellucci gives in the role. It certainly helps that Monica has the beauty and the body to pull of the role, and she is not shy about sharing her voluptuous charms with the camera. In one scene she even instructs us on how she is able to seduce her target, and it is clear that Monica Bellucci knows how to use her considerable female attributes.

The other strong performance in "How Much Do You Love Me?" comes from legendary French actor Gerard Depardieu. Depardieu's character does not appear until the second half of the film, well after all the other main characters have been introduced, but Depardieu instantly captures the attention of the audience. He has played many different characters in his career, and in "How Much Do You Love Me?" he looks like he was born to play the role of an amoral gangster.

The main problem I had with "How Much Do You Love Me?" is that the action starts off slowly, and what is billed as a comedy feels like a depressive drama during the first third of the film. As it turns out it takes a while for director and writer Bertrand Blier to set the stage, and the action picks up considerably in the second two thirds of the film. "How Much Do You Love Me?" never turns into a slapstick farce; instead, it is ultimately a sophisticated adult comedy about the different roles women can assume. While being entertaining it also raises some interesting questions about just what the differences and boundaries are between those roles.

What a disappointment. I was expecting much more from a film coming from Bertrand Blier, who has made Tenue de Soir in the 80s, and a bunch of reasonable films since. Having Depardieu and the mind-blowing Monica Belucci in the film was not certainly enough.

All the film turns around Monica Belucci. Sure, such a beauty makes man die for and can make them pay millions or kill for, the issue is that the characters in this film seem to be willing to do exactly this, and this is the whole story, not much more. One of the reasons of failure is I believe the cast. Bernard Campan in the role of the gray clerk who wins the lottery and intents to buy a beautiful Italian whore for the rest of his life is lacking charisma, and there is no chemistry between him and Monica Belucci. In other words, I can certainly understand him, but I cannot understand her, and the whole intended love story is less than credible.

All around dance a bunch of characters who fail to be coherent enough, or funny, or to be able to collect any sympathy. Even Gerard Depardieu who is an actor who seemed not to be able to do wrong looks like mis-cast. Actually all characters seem under-developed, and if it were not for Monica Belucci's beauty and talent (almost completely wasted here) the film would have sunk into complete failure. It gets a few stars however, and all belong to Belucci.

I've watched the Depardieu-Blier films all the way back to VALSEUSES and enjoyed them so I came at this one believing all the knocking comment must be wrong.

Well it's certainly not a dead loss. Campan registers in a tricky role acquiring Pigalle poule de luxe Bellucci and taking her back to his office worker flat, despite his shaky health and down at heel associates and this part plays quite well.

Surprisingly, it's when an aged Depardieu doing "vieux jeu con" shows up that things become strained. Well with a record like this, these guys are entitled to one screw up.

The film is by no means a write-off with the changes of light, background and costume within scenes getting attention until you realize that, if they have any meaning, Blier is not going to share it with us. The opera score has oddity value and the small parts are striking. Farida Rahouadj's turn as the Northern neighbour is particularly attention getting.

It's a pity to find this one getting international showing on the strength of its star power, in place of more imposing product.