For Better and for Worse

Catherine (Kelly Lynch) a young artist, of wealthy parents, has just come back from the Alps. It was there that her lawyer boyfriend, Robert (Patrick Dempsey), the son of a butcher, proposed. Although they do not seem like a match made in heaven, because of their backgrounds, they begin mailing out invitations to the wedding. On a lark, they mail one to the Vatican and invite the Pope to attend their nuptials. Much to their surprise, he accepts, mostly because of a manipulative scheme going on amongst those who are directly under him in rank. What is more important, Robert is working long hours with a looker named Helene, at the law firm, and a free-spirited, up-and-coming artist has his eye on Catherine. Can anyone spell splitsville? This is an okay movie when Catherine and Robert are around, for they are likable, attractive people. But, when the film centers on the Catholic bigwigs and their schemes, the movie becomes most dull. Production values, costumes and scenery are all very nice, making the film look good. But, in truth, only romcom lovers should be looking out for this little piece of cinematic fluff. Although Dempsey is dreamy and Lynch is a cool beauty, those who dislike tales of love will be yawning excessively if they should happen to catch the film late at night.

A Franco-American production, shot in Paris and environs, this is a well-made and pleasing romantic comedy involving wedding plans for two young Parisians, Robert (Patrick Dempsey) and Catherine (Kelly Lynch) who, after whimsically posting an invitation to the Pope for their espousement, are astonished when the Pontiff accepts; however, the betrothed pair become estranged before the nuptial day due to misguided mutual jealousies and repercussions are wide-spread, enmeshing the Cardinal of Paris and the public relations firm that is organizing the fete, along with many other parties who would profit by having His Holiness in attendance. The work is splendidly cast, utilizing able Continental players who are facile in English sharing all supporting roles, co-stars Dempsey and Lynch being the sole Americans, and the screenplay by Fabrice Ziolkowski after a story by Tony Gilroy is nicely crafted with few jarring notes from dialogue, while the film is crisply directed and edited as well as very nicely designed, particularly in reference to the costume design of Valerie Pozzo di Borgo; camerawork and lighting of Yves Dahan is consistently inventive; notable acting turns come from Gerard Rinaldi as a harried publicity executive trying to save his faltering company, Simon Eine portraying the papally ambitious Cardinal of the Archdiocese of Paris, and Jean-Pierre Stewart as a lusty Polish painter.