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Based on the best selling novel by Harlan Coben this is how a thriller should be made. If you thought Jack Bauer had bad days wait till you meet Dr. Alex Beck (played superbly by Francois Cluzet) the film starts with him along with his wife spending sometime by a lake when she and then he are attacked, she is murdered and he is put into a coma. Skip eight years into the future and although never forgetting his wife's memory he has to a certain extent rebuilt his life. Then things start to turn, when two bodies are discovered buried near the lake and certain evidence suggest a link to Alex and the unsolved case of his murdered wife, suddenly it looks like he is in the frame, again. Then Alex begins to receive e-mails from an anonymous source at first but which seem to be coming from his wife, could she still be alive? And if so what the hells been going on? At 2hrs 11mins this isn't by any means a short film but it is handled so well by director Guillaume Canet that not once did I even notice the time, from the moment the story hooks you it never lets go right up to the end. As Alex starts to dig deeper and deeper to try and uncover the truth you are with him all the way discovering things as he does and when the whole thing finally unfolds it really is quite breathtaking. This film for me had everything, a brilliant script, a seasoned cast, twists and turns, Jeff Buckley's 'lilac wine' used to amazing effect (you will know what I mean when you see it) stunning cinematography, complex subplots that never once get too confusing, it truly is one of the most enjoyable and intelligent films I've seen for a long time.

Excellent film. I'd never heard of the book it's based on. The movie does have the kind of complex characters that are more associated with novels than with cinema.

It's Hitchcockian to some extent - its premise is a classic "wrong-man" scenario, with suspense, humour and chase sequences. But the de rigeur romantic element here is, for the most part, tinged with a strange melancholy , and it's this that gives the film such an unusual atmosphere.

Leading man François Cluzet is probably weary of being compared to Dustin Hoffman, but the fact is there is more than a passing resemblance. Nevertheless, Cluzet is very much his own man, and is as good, if not better, than the Hoffman of, say, 'Marathon Man', which inevitably comes to mind as one watches Cluzet taking to his heels in the breathless, breathtaking chase sequence.

Although Cluzet carries the movie, the rest of the cast, which contains a number of very distinguished French actors, is first-rate.

The plot is full of twists and turns, and the story-telling full of time-jumps, so you really need to concentrate. I'll need to get the DVD to check I understood it right.

All in all, it's an excellent edge-of-your-seat thriller: a splendid, somewhat scary, night out at the movies.

This movie is extremely engaging, well-acted, detailed, moving, thrilling, exciting and satisfying to watch. The stakes get higher and higher as the plot unfolds. What is so unexpected is the many facets the film has, it's not told on one-level there is a mixture of comedy and tragedy that is totally charming and believable. There is a great sense of involvement that gets the viewer attached to the characters and the unique situation that presents itself. It's a total roller- coaster of a movie that has you on the edge of your seat. An extraordinary story that is interestingly told. I've never felt the desire to write a comment on a movie before so the fact that I've taken the time to do it says a lot about the power of it's content. I really recommend this film, it takes you on a journey that divulges secrets beautifully as the story unravels. I left the film crying with a mixture of joy and sadness.

This movie is just amazing well scripted,acted with lots of twists. It worked as a slow burner for me with it's long duration. It didn't bore me at all,kept me hooked whole time.

This French adaptation of Harlan Coben's convoluted thriller is doomed, by its language, to be overlooked by the majority of English-speaking moviegoers which is a huge shame, because it is a very stylish film that deserves a wider audience. It's strange that an American book has been made by the French, especially one with such obvious commercial potential, but had Hollywood bought the rights, I can't help thinking it would have produced something altogether different. Just watch that long chase scene midway through the film and listen to the soundtrack, distinctly downbeat in comparison to the type of music most American films would use, it nevertheless ratchets up the tension just as well. And there is a mutual moment of revelation for both us and the beleaguered Doctor Alexandre Beck (Francois Cluzet) played to U2's 'With or Without You' which sent a small shiver racing down my spine.

I read Coben's book a couple of year's ago, and I'm not sure whether it's a good thing or not. While prior knowledge of the plot undoubtedly helps you to keep track of what's going on up on the screen – and even then I was struggling at times – the impact of the stories twists are inevitably blunted. As far as I can recall, the film stays fairly loyal to the book, although I'm pretty sure the creepy female assassin changed sex somewhere during the transition from page to screen.

Francois Cluzot, who initially looks too old for the part, quickly grows into the part of a doctor who begins receiving emails from the wife whose murder he has been suspected of for 8 years. Cluzot looks a little like a darker, more rugged Dustin Hoffmann and copes well with the range of emotions he is asked to portray. Canet's direction is solid, and wisely avoids any posturing or flashiness in telling what is essentially a what-you-see-is-what-you-get type of thriller, and only in the final half-hour, before a sit-down-and-let-me-tell-you-what-happened finale, do things begin to drag a little, although this is perhaps forgivable considering the dizzying pace at which the story has been told until then.

The pediatrician Alexandre Beck (François Cluzet) misses his beloved wife Margot Beck (Marie-Josée Croze), who was brutally murdered eight years ago when he was the prime suspect. When two bodies are found near where the corpse of Margot was dumped, the police reopen the case and Alex becomes suspect again. The mystery increases when Alex receives an e-mail showing Margot older and alive.

I am a big fan of French cinema, but "Ne le Dis à Personne" is an awesome thriller and superseded my expectations. The story and the characters are well-developed and there are simply no flaws in the complex plot, with all the situations being perfectly explained. The cast is fantastic, giving credibility to their characters. Only now I have seen the number of awards and nominations of this great film. Congratulations, the people that made this film really deserve them. My vote is nine.

Title (Brazil): "Não Conte a Ninguém" ("Do not Tell Anybody")

Note: On 09 Oct 2021, I saw this film again.

Tell No One (2006)

An intense, constantly evolving ambush of suspicion, including an epic footchase in the center of the movie and a couple final twists that will rock you at the end.

The leading character, Alexandre, is central throughout, played with drawn poker-face by Francois Cluzet. You might even say he overplays his sobriety, because he's not so much impassive in the face of upheaval as blank to it at times. But overall it's what he is, this man who faced a personal tragedy eight years earlier and now still struggles with the truth of it.

And we all struggle with this truth. Once the initial murder happens we are struck by the absence of a body. And by a feeling that something isn't what it seems. When the police re-interview Alexandre after eight years (which seems to be long enough for a statute of limitations declaration, though I don't know French law), we suddenly suspect him of either the murder or of complicity. There are new facts. There is a suspicious sighting in a surveillance video. There are his own doubts. And our doubts about his doubts.

The cast sprawls a bit at times--there are four main women, and several lesser men, so keep alert. The father and the father-in-law, the girlfriend's girlfriend, the sister, the lawyer, and so on. And it is the unfolding of conversations and stories and confessions that make the truth come out, one of those cases of telling rather than showing what happened. By the end this becomes a huge weakness in a movie that had so much shown and so much action until the last half hour. The twists are so huge, and played out with a couple of re-makes (so that the same actors replay the scenario differently now that the facts are rearranged), it's slightly flabbergasting.

If you don't mind having the wool pulled over your eyes this way (in a way you can't object to), you will be impressed by the overall tone of things. There is the energy and worry of a good American adventure crime film with fewer pyrotechnics and some convincing realism, both welcome in a world of overly produced movies. And the chase scene is notable--the man gets tired and sweaty, he has a lucky break or two, and then there's a brilliant if unlikely entry of a side of Paris we don't often see in mainstream movies, the minority neighborhoods with their brooding anger against the police which reminded me of late 60s America. It's a short insight.

If this seems like your arena at all, I'd definitely give this a look. We're all pretty used to unlikely twists by now, anyway, so the rest of the movie will hold itself up well.

I read the masterly novel "Tell no one" by Harlan Coben and the movie by Guillaume Canet didn't disappoint me. And I want to precise that I'm very critical with novel's adaptations when I've read the book.

At first, I was surprised that a novel as great as this one become a French movie and not a Hollywood production. But I was "disappointed in good" (déçu en bien), as we say in Switzerland.

Canet respected very well Coben's work and the cast is absolutely excellent ! François Cluzet (with a resemblance with Dustin Hoffman) is a perfect Dr Beck. Kristin Scott-Thomas, André Dussolier (can be a naughty character too), Jean Rochefort and the others are great as well.

Finally a really great movie - the best French movie I've seen, I think - as thrilling as the book ! "Ne le dis à personne" equals "Tell no one".

Notice that the man who follows Beck in the station is Harlan Coben himself.

The film, although adapted from an American novel, wonderfully brings to life Paris and the countryside surrounding it. Many characters and events that had seemed typically or even uniquely American were transposed to France so well that they seem in the film typically Gallic.

The acting is terrific -- even the Briard is wonderful.

Tautly suspenseful,a tale of corruption and evil, it is also and above all a story of love: true love between lovers, familial love between parents and children, and the sustaining love of companions and friends. Excellent!

Francois Cluzet won a deserved Cesar for his role as did the director.

Pediatrician Alexandre Beck (François Cluzet) and his wife Margot (Marie-Josée Croze) are skinny-dipping at the lake late at night. Margot disappears while somebody knocks out Alex. The police considers him prime suspect. Eight years later, two male bodies are found near the lake and the police starts investigating him again. Alex receives mystery e-mails showing Margot alive and out in public. He starts wondering about the body that was presumed to be her years ago that was identified by her father. He tells his sister Anne and her partner Hélène Perkins (Kristin Scott Thomas) and they hire lawyer Elysabeth Feldman. Mysterious thugs kill their friend Charlotte and set him up.

It's a good Hitchcockian mystery. It's got intensity like running across the highway. It's nice that none of the main characters are idiots. It's a smartly written complicated case that is slowly revealed. The best of all is that I think it all works. The only drawback is my unfamiliarity with the French legal system. The cops seem to be very pushy and I would think any smart man would ask for a lawyer. It's a great engaging mystery from start to finish.

Tell No-one is the debut feature from Guillaume Canet, a guy arguably best known outside of France for being that bloke in The Beach who shouts "Francoise!" a lot. While he may not have seemed to be up to much then, judging from this stunning adaptation of Harlan Coben's novel of the same name, he certainly is now.

Tell No-one is the story of Dr. Alexander Beck, a man who gets an email from his wife. Boring, you say? Beck's wife was killed eight years ago in an attack that left him (in a sense) lucky to be alive. The email instructs him to "tell no-one" and with nobody to turn to, Beck throws himself into a desperate search for the woman he loved and lost.

What follows is arguably a typical array of thriller conventions: the secrets, the lies, and the inevitable betrayals, but what sets this movie apart is its pacing. Canet sheds some of Coben's superfluous subplots which ramps the tempo up so effectively that you soon forget that it's all in French. The move from the States to France also works in its favour, especially for foreign markets (as in the UK & US), as it makes the movie feel edgier and more unfamiliar than a standard American cop-chase movie. The combination of these factors give Tell No-one a freshness and intelligence that a lot of modern thrillers are lacking.

The quality of the acting (especially from Cluzet) and the dialogue, no doubt helped by Coben's writing, keeps the story believable as everyman Beck races ever closer to the truth, and to round it off, the score is great too, with clever use of familiar tracks to help keep the audience somewhat comfortable as Beck's search becomes more and more dangerous.

Tell No-one may sound like another average thriller, but its pacing and finesse place it head and shoulders above the rest of the crowd.

A very good second film for this young director, and in a genre which is not always a "day at the beach" for french directors... I'm not talking about directors like Melville or others of that generation, but for some of Canet's generation which prefer too easily to use sophisticated special effects and endless fights to fill up their scenes. Canet always stays close, very close to his characters and their feelings, and his storyline/plot and gives the audience an excellent humanistic suspense…

The film exists by itself, and doesn't need to be compared to the novel (that I read and liked), because it's transposed in another culture, with different rhythms, variations in the original characters

**** SPOILERS*****

(thanks Mr. Canet for making the psychopath "fingers" killer … a woman ! . Good idea !. And François Berleand, as a police inspector who has a little obsessive-compulsive disorder, and giving yourself the most disgusting part). Excellent choices that add subtle details to the french version.

Two hours of good cinema, good directing of actors, and needless to say that François Cluzet is a great great actor (Gee, brought me to tears at the end, very moving last scene BTW).

An excellent adaptation, well directed, not pretentious ! Canet gets his degree. Congratulations !

Tell No One is a movie that kind of reinvents itself multiple times throughout the runtime. Each act feels a little different and the main character has a diverse set of goals he's trying to accomplish throughout the film. The biggest thing I can say, without spoiling anything, is that he is always looking for answers. As a man who loses his one true love in the opening scene, he cannot rest until he knows the truth, and I like a movie that gives the protagonist such strong motivations. I also thought they did a good job at making François Cluzet's character extremely likable and sympathetic. It's kind of necessary that we sympathize with him, since there are so many parts of this movie that are punctuated by staring at his confused face. I suppose if I was trying to piece together things as complex as this I would also look a little stymied all the time.

The film is fast-paced, and has some exciting moments. I was surprised by some of the intense violence in the film, and could not figure out why these people that feel like super-villains were chasing after the protagonist. But the real thrust of the movie isn't the action, but it is the mystery of one man trying to make sense of his past, and how his wife died. I liked seeing the pieces come together, and I thought there were some good surprises along the way. However, Tell No One falls prey to a frustrating flaw common among films of this type. It saves too many details until the end and then we are forced to sit through a marathon exposition dump. They try to make it better by including visual flashbacks to show things, but it still doesn't change the fact that we get a climax which is just a monologue that takes about 20 minutes straight. That being said, there was enough entertainment value in Tell No One that I was willing to accept a little tedium at the end.

Based on a mystery writer's novel which I've not read, the film succeeds courtesy of some great acting. So often a mystery is put together with clues and red herrings, and then at the end you fold a puzzle piece and voila it fits. I think it appeals to the clockwork mind, and as their is often crime involved, there is a sense of some extracurricular guidance towards justice.

While this film has that, and action moves like car chases, pistol whipping and a lengthy running script (the kind Tom Cruise would demand be inserted in a film of his), Francois Cluzet holds the center of the film in more gentle hands. He's a good guy, even when mixed up with the bad guys, he brings out their inherent benevolence. You go, Bruno!

Films like this hinge upon believing that bad moves are really the best moves one can take, the story and acting help sell that here in my opinion. In real life, I think in most cases perhaps not as intricate as this, I would Tell Some One, and likely an authority. Granted plenty of films from America North and South, make clear the dangers of corrupt cops and who watches the watchers. Maybe in Europe, things could be different.

Again for the genre, experts might not enjoy this (or pick it apart for a variety of reasons). But I was able to just enjoy the people on screen foremost (always helps to have Nathalie Baye involved), and then the pacing and plot.

Nice to see the director hatched the script and put himself in the mix on screen as well. Recommend you watch it, and then figure out the right someone to tell to see it next.

Also excellent music throughout, especially that closing track.

Plot has more holes than a golf course.

So they had to spend the last 20 minutes explaining what had gone down in the first 110. Too bad the plot became so tangled that the screenwriters were unable to show what happened and were forced to explain it instead, by locking two guys in a room. Two guys who take turns threatening each other with a pistol, even though you and I know that neither will shoot. If they did, we'd never get the explanation, and they owed us that much, quand meme.

Not that we couldn't guess what was coming! I mean a politician at a horse show, an eminence grise, is a giveaway. Why show the guy if he doesn't figure in somewhere? And where will he figure in? Duh, that's right, down the line we'll discover he's the bad guy. The French version of the evil senator we've seen so many times before.

So the filmmaker's challenge is to make us feel like we're in good hands as he unravels the story. It's not about acting (yes, its good), production values, or direction; it's about story telling. How to get the characters to the ending we know is coming in an absorbing, suspenseful way?

Guillaume Canet should see LA Confidential (1997). Oh what Curtis Hanson might have done with this story!

This is the kind of frantic, convoluted thriller that is usually the vehicle for actors like Richard Gere, Harrison Ford or Liam Neeson. Yjay it hasn't been remade yet is a surprise given that it is a pretty good film.

My one complaint, though, was the writing and plotting. I mean, it was fairly intelligent, but did they have to continually introduce characters where you wondered for a long time just what their relationship is to the story? That part perplexed me, especially since is is a foreign film, the actors are unknown to me, and the story kind of jumped around.

It's interesting that Dr. Beck is a dead ringer for Dustin Hoffman. I wonder if anyone else picked up on this. Just saying. It's a fine, albeit nearly bloodless, thriller and I recommend it for fans of the genre.