Potiche

Baccara & the Beegees in the soundtrack! Deneuve and Dépardieu doing the Night Fever dance! Squirrels! Hot truck drivers with sideburns! son Laurent who looks like Claude François, daughter Joelle with a Farrah Fawcett hairdo: this film gets a ten+ for the art direction and a 9 for the colourful cinematography.

As for Deneuve, in a role reminiscent of 8 Femmes' Gaby (2002 - she made 17 movies since!) is bubbly, sparkling and the stuff movie stars are made off - she sucks the viewer into the story.

Dépardieu, well is Dépardieu; Deneuve's husband played by Fabrice Luchini is the weak link in the story. He never comes off as a credible character. The kids' acting is alright, though they sometimes blend in with the wallpaper too much. It's just a bit too much visual and too little feeling.

Potiche is a Japanese flower pot and a merry housewife and Suzanne Pujol at first appears both. As the drama unfolds, there is more in Suzanne than we first thought. The story is like a soufflé, pleasant, fluffy and at risk to implode at times.

What perhaps should be a study about women's emancipation in the Seventies has more of a feel of a prequel to 'Dynasty a la Française', and a whiff of British comedy 'Are you being served?' thus making the viewer feel a bit iffy at times.

We saw this as the 5th movie at a film screening in the Netherlands, right after Des Hommes et dieux (of gods and men - the French Oscar submission); in that context the exuberant pastiche that made potiche was a welcome delicious dessert of our day of digesting the finest films. Go and see it!

I first saw the French actress Catherine Deneuve in a movie in the English-language "Repulsion" in 1965 when she as just 22. Playing the 'trophy wife' of the title in this 2010 French film, Deneuve is 67 but still glamorous. When Suzanne Pujol's husband (Fabrice Luchini) - a sexist partner and a harsh boss - has to absent himself from his 300-employee umbrella factory for health reasons, she takes over and transforms both the industrial relations and the business performance of the plant with a sensitive feminine touch that makes full use of her connections including the local mayor (Gérard Depardieu).

Set in 1977 and a comedy, this is an old-fashioned and very light work that lacks any subtlety or nuance with writer and director François Ozon simply satiring both the factory owner and his trade unions (CFDT and UGT).

Catherine Deneuve at 68 is what Oscar Wilde called "That horror of horrors, a Handsome Woman..." Well, life is hard and time pitiless. We can say that she looks alright "considering her age", but when you look at pictures of her gorgeous 20 years...,, and not to mention her partner in this movie, Gerard Depardieu... Mon Dieu! he's really in bad shape!!! worse even that Jack Nicholson and that is saying a lot!!!

He wears an open jacket (I think he gave up trying to button up because his stomach is enormous) and it's almost embarrassing to watch both of them in the night club scene, dancing "modern", I almost avoided looking at the screen. Pitiful. He's totally miscast. Deneuve, being better "preserved", is still fun to look at. Excellent actress and a very good movie.

Funny in a very french way --it seems that the french can produce these incredibly light movies with as much ease as they make those heavenly Crêpe Suzettes. And as tasty. A very good entertainment done in very nice colors and at the perfect pacing for such a light comedy. Fun to watch!

Unfortunately this movie is one of these movies you just want to forget about it. As usual Dépardieu saves the movie to get the pass (well the pass... 4/10), but the rest of the crew are quite dull in any sense.

The comedy is inspired in 1977/1978 in France, in the rise of the feminist. It will be nice if the director uses the 70's as a good scenario, but instead he only displays few 1970's cars and does it.

The poor sense of humor makes the movie almost unwatchable.

In the last years I have watched almost 300 movies, this is one of the worst.

Gabriel Renom

This film was primarily a glorification vehicle for former world beauty and French film icon Deneuve that got way too precious and obvious in its abject adoration by the end. This comedy about a tough factory owner who was kidnapped by his workers which allowed his more caring wife to take over his job was a bit better than TV quality fare and not much more than a mostly pleasant way to spend a couple of hours seeing how much a once great beauty has aged since her spot at the top of French cinema in the 60s and 70s. Deneuve's acting skill has not declined as much as her looks have but it has not improved much since then either, as her even, vapid personality made her role mostly uninteresting to me in this film just as most did back in the day. Other than her deserved status as a very attractive woman, there never was much there there. However, film always has been the showcase for the most beautiful women, as they do sell tickets no matter what kind of "acting" they do, as it's their "being" that counts more to an audience, especially to men. To their credit, the French are very appreciative and adamant about their icon worship, done very well recently in "The Illusionist" starring a graphic character of the incomparable Jacques Tati, but they went too far with little quality in Potiche.

Vehicle movies are pure vanity pieces and often dismissed as fluff homage, and usually do not recover the cost of making them as they mostly do poorly at the box office due to their too-obvious glorifying agenda where story is very secondary to the primary purpose of overt and excessive icon adoration. This film may do fine in France, but I fully expect very poor box office to be the case in America.