Marius e Jeannette

Marius and Jeanette, a couple of life's walking wounded from the low rent side of the tracks, get it together with the help of their Marseilles neigbourhood. They meet when Jeanette tries to steal paint for her grotty flat from the demolition site guarded by Marius. Watching the film was for the most part like watching paint dry, but it was a pretty finish. The snail's pace seems to be a feature of French romantic comedy, even a working class one like this. Perhaps it's so all the minor characters can tell us their oddball philosphies so we can marvel at how un-hung up about life (and therefore how truly French) they all are. The film plugs a vague feelgood socialism and makes the point that while you don't have to be an idiot to vote National Front (le Pen's neo Nazi party) it helps (the dumbest of the neighbours is a supporter).

Worth seeing? Yes, if you don't mind the slow pace. The people are ordinary but interesting and the location authentic. Slice of life stuff, but certainly cheaper than a trip to Marseilles.

Set in the low economy end of Marrseilles, where a courtyard is shared by a few surrounding town houses. The main thrust of the story comes from the romance between a mother of two, Jeanette, and the security guard with a limp(!), Maruis. From them branches the relationship and friendship of the neighbours, all with their hang-ups and humour.

A rather tender and poignant love story, about Jeannette who is an outspoken woman, and looses her job as a cashier because she is apt to speak her mind once too often. She meets up with the taciturn Marius. They both have painful pasts to deal with. Guediguian creates a finely judged low-key film from this story, weaving in some nice touches about the small community of friends from the industrial area where Jeannette lives. Guediguian's strong left-of-centre politics intrude into the narrative rather crudely at times, but not enough to spoil the film.

Recommended.

This movie is for those who want to believe that life can be pleasant even if one is a broke divorced unemployed mother of two without prospects as long as one believes. In this case the requisite belief is not in god or in life everlasting but in love & some communitarian evolution of romanticized communism. Our once deserted and once widowed unemployed heroine finds love amongst the deconstructing ruins of a cement factory with its emotionally and "physically" crippled security guard. The film is not unrelieved tendentious reality though the only action is a rather bloody bar room brawl from which the protagonists escape drunk but without injury. The one great myth that deserves debunking is that a dozen people in a third of a dozen seperate households can live cheek by jowl in a fading tenement, sharing all intimacies and still like each other. I was somewhat mean in giving it a 6 but it sure isn't worth the 8.7 average rating that prompted me to see it. The French must have different eyes.

To set a film in and/or around Marseilles and name one of the two eponymous characters Marius is to invite direct comparison with the great Marcel Pagnol and his own great trilogy Marius, Fanny and Cesar (now available as a boxed set from FNAC and though expensive a 'must' for any serious film buff) and without seeing the film the feeling is that Guediguian is either throwing down the gauntlet or paying homage to Pagnol. After seeing the film it is evident that the latter obtains.This was probably the first Guediguian entry - all top-billing his wonderful wife Ariane Ascaride and all set in/around Marseilles - to reach an international audience and what a way to start. You may balk at this director's obsession with downtrodden workers and bloated capitalists but he does have the good sense and/or decency to sugar the pill with an unforgettable love story - indeed it could be subtitled ironically Love Among The Ruins as the protagonists meet in the ruins of a cement works where Marius is employed as a watchman and Jeannette attempts to steal some paint. In an attempt at symmetry there are three couples involved - with the exception of Marius they are neighbors in a shabby project and when I say that one of them is the great Jean-Pierre Darroussin hip movie-goers will need no more prompting to check this one out. Not that Marius in the shape of Gerard Meylan is any slouch if anybody asks you, in fact this trio comprised the menage a trois in Guediguian's last release (two more are in post-production as I write) Marie-Jo And Her Two Loves, and though Darroussin is very much a supporting player here he makes his presence felt. It is impossible to overpraise this movie. I caught it on its initial release and was overwhelmed, I've just purchased my own copy and if anything it is better on a second viewing and will still be giving pleasure long after this season's popcorn specials have faded from the mindless audiences memory banks. 9/10