Nathalie...

I can't understand why this film got such bad reviews and why so many people seem to have a profound dislike for it. Are people really that impatient, have they been blighted by Hollywood movies to the point that they cannot appreciate something a bit more delicate? I found Nathalie tantalising, unpredictable, romantic. I identified & empathised with all the characters, and was interested throughout. Yes, it had quite a slow pace, and there was a lot of talking, but it had an interesting ending which surprised me, and it had a lot of style. It left a few things unsaid, which i like as it gives you a chance to explore the meanings of what you are seeing, almost like a self-psychoanalysis.

Ardant, Beart, & Depardieu all gave great performances. I also particularly liked the soundtrack (I normally hate movie music), and I'm not talking about Nyman's stuff, which somehow passed me by, but the gently throbbing house y, beat y, electro we would here in the club, and in the car (if my memory serves me correctly). This was the best selection of high class porno music I have ever heard, & I'm currently seeking the soundtrack as inspiration for some scenes I'm writing now.

Big-up Anne Fontaine for delivering a delicate, classy film, and big-up the writing team Philippe Blasband, Jacques Fieschi, François-Olivier Rousseau, & Fontaine for writing something intricate and involving :)

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Nathalie is most marked by silence and waiting. The husband does not talk about his extra marital dealings with his wife, and she does not ask about his. Neither of them speak to Nathalie about the truth of the relationship. I find this contrast to the 'let it all hang out' philosophy of marriage to be refreshing. There are many moral questions raised in this film; is 'talking it out' a good idea when the partners have been married this long, and will it change anything? Who is Nathalie's real customer? What would have happened if the husband and wife had had a row; would the husband have stayed until the end, when everything was revealed? These are good questions, not often dealt with; but the French seem to love having a go at them. Emmanuelle is well chosen as she does a lot of looking pensive, and her face is good for that: Fanny also stares a lot into the middle distance, and her bone structure is good for the late-forties woman she portrays; Depardieu is just such a nice guy underneath his philandery that you can almost believe he loves his wife and will wait to have her back. I liked the film. I like films that make one think.

In Paris, the executive Bernard (Gérard Depardieu) and his wife, the gynecologist Catherine (Fanny Ardant), form a bored upper class middle aged bourgeois couple. They have been married for many years and their life does not have sexual desire anymore. One day, Catherine listens to the message box of his cell phone and she believes Bernard is unfaithful to her. Catherine hires the beautiful prostitute Marlene (Emmanuelle Béart) to pretend to be a young woman called Nathalie, seduce and investigate the sex life of Bernard and report to her his secrets and performance between walls. Catherine discloses a surprising revelation in the end.

I saw the used DVD of "Nathalie…" on sale in a rental, and based on the names of Emmanuelle Béart, Gérard Depardieu and Fanny Ardant, I decided to risky and buy and watch this movie without any previous reference. I found a great movie, with a very credible story, but for mature audiences only. I believe that only the public of a certain age, who have experienced marriage, will fully understand the characters of Bernard and Catherine, their motives and how true the story is. I was also impressed with the elegance of the great French actress Fanny Ardant and with the eternal beauty of the sexy and also great actress Emmanuelle Béart. The direction of Anne Fontaine is very sensitive, delicate and classy, keeping the story in a very high level, without using any type of subterfuge, such as spicy scene or sexual exposition of the cast. The soundtrack is also excellent. My vote is eight.

Title (Brazil): "Nathalie X"

Note: On 03 July 2011, I saw this film again to compare with the weak remake "Chloe".

Despite a top-drawer cast and a top-flight writer-director this one flopped in France. Something is seriously weird over there; last year Depardieu, Adjani, Ledoyen, PLUS Jean-Paul Rappeneau (Cyrano de Bergerac) failed with 'Bon Voyage'; THIS year Depardieu, Fanny Ardant, Manu Beart PLUS Ann Fontaine (Comment j'ai tue mon pere, Nettoyage a sec)bombed with Nathalie. I've already covered Bon Voyage in these pages, having seen it three times and been blown away each time, but I just missed Nathalie when it was released in Paris in January of this year and I missed it again in April by which time it was reduced to one performance a week in a suburban art house, but now it's arrived in London and guess who was there with bells on at the very first screening. The English press seem disappointed rather than dismissive, on the grounds that the storyline - wife, worried about husband's fidelity, hires a hooker to seduce him and then supply a blow-by-blow, you should forgive the expression, to said wife - is meat and drink to the French so how could they produce a souffle that failed to rise to the occasion. They also claim you can see the twist coming a mile away and all I can say to THAT is that I was too busy basking in Fanny Ardant's eye-acting to spot the clues, such as they were. Put three heavy hitters like Depardieu, Ardant and Beart together in one movie and SOMEONE, SOMEWHERE is gonna think he's died and gone to heaven however less-than-perfect the script and this one is only a TAD less than perfect. Though hardly needed there is also first rate support from veterans Wladamir Yordanoff and Judith Magre, now, incredibly in her 78th year and looking no more than fifty. Of the three Depardieu has the least to do but as always he does it so well it feels like he is carrying the thing. Beart is the weakest link but she is always going to have problems with that incredibly unbelievable beauty that makes her look more like a genuine Stepford Wife than a REAL flesh-and-blood person. If ever a face needed not a whit or a jot of make up it is Beart's and it is sick-making to see it grotesqued up so ineptly with Hooker #7 lipstick and eye shadow. The movie belongs to Ardant and she takes it effortlessly giving what amounts to a Master-Class in eye-acting and if you haven't seen that gorgeous, Ava Gardner look-alike face in repose while the eyes reveal the pain behind them you haven't lived. Okay, the clues WERE there and I missed them but I sure don't feel either cheated or a klutz because for one hundred and seven minutes I was in the presence of greatness. 8/10

I think "Nathalie..." is a very interesting film. Once again French moviemakers confirm they're among the best European and (to me) World directors. Because they're also able to show a simple story, a simple tale where there's room for feelings and sensations.

A woman discovers she's betrayed by her husband. She hires a prostitute to follow constantly and to seduce him. The wife wants always to be told what has happened (she also wants to know exactly the way the girl has had sex with the man). But between the two women a friendship grows and also in the marriage something changes... Thanks to the young girl the married couple will find again the dialogue. Without being melodramatic, the film has an original approach for telling a story about couple problems and human relationships. "Nathalie..." contains studies about that.

A movie directed by Anne Fontaine and led by a wonderful cast: Depardieu, Ardant and Béart (these are two of the most gorgeous women of French cinema...).