Je vous trouve très beau

Isabelle Mergault's You Are So Handsome/Je vous trouve très beau is a conventional mainstream French film with a slightly new theme: what happens when an Eastern European mail-order bride is brought in on the QT to help out with chores on a French provincial farm. Shortly after the film begins, French farmer Aymé (super-popular actor Michel Blanc) loses his wife in an off-screen accident. Little love was lost between the gruff pair, and once his wife's gone, Aymé's main concern is who, now, is going to do the laundry, cook, and tend to the chickens and cows on his farm. He can't do all that himself. So he's barely out of his funeral suit when we see him accompanying a professional matchmaking lady on a plane to Bucharest to interview prospective brides. It's obvious there are lots of girls over there desperate to get out, some with the rudiments of French. One of the interviewees, Elena (Medeea Marinescu), has the sense to dress down and say she likes animals. "You Look so handsome" is what they all tell the farm widower – even Elena. When they say it, Michel Blanc's rubber-faced deadpan goes all pouty.

He winds up picking Elena – sort of. He doesn't marry her. He arranges for her to arrive back home after him, pretends she's a distant relative come for an internship on the farm, and doesn't even admit to his family that he's been to Rumania. He produces faked photos and canned sauerkraut to convince them he was in Germany for a farm equipment trade fair. He also forces Elena to pretend to everybody else that she speaks no French.

Nonetheless Elena is soon living with Aymé – though "on approval" – and helping with chores. She wants to be affectionate, but he's as brusque as ever and will have none of it. The pout stays put, despite the charms of Elena, who could pass as a young Meryl Streep and captivates all the local boys at public functions. Aymé is not above getting jealous when that happens. He's possessive, but not giving.

Je vous trouve très beau isn't challenging or subtle, but it does up the rich nation/poor nation dilemma. It's also a change from the general run of French films focused on sophisticated bourgeois Parisians (or their outcast banlieu neighbors). Veteran actress and experienced screenwriter Isabelle Mergault's first directorial effort is an entertainment, not a specific regional portrait or a searching piece of social realism designed to arouse our geopolitical awareness. It's a sentimental tale that milks its laughs and tears in an easy, simplistic way – even if it's also marked by an emotional trajectory that leaves one feeling rather muddled.

The rest of the cast is replete with (generally believable) stereotypes: the noisy relatives (who're quite appealing, but hardly seen in depth); the young country boys who gather around the pert, mini-skirted Elena; a big mute boy, her best friend in the daytime, who moons around her and helps with the chores; an old crone who has one repeated joke refrain, "Who's dead?" The cliché we've got to believe in is that Aymé's gruffness eventually melts – but a little late. By the time he's realized that he cares for Elena as a person and not just a housekeeper, and gives his one big speech about her coming on to him made him feel old and undesirable and turn on the one thing he most wanted, Elena's just about unhappy enough to walk back to Bucharest, and he provides a way.

This is the old story of the hard-hearted loner (Aymé and his dead wife have obviously lived as if they were alone for years) whose façade eventually cracks and lets the human being timidly peek out. But the process is so protracted we don't get a clearcut resolution. Most of the relationship scenes are little images of hurt and apology, reaching out and drawing back. First-timer Mergault hasn't achieved a sure rhythm, her drama veers too much toward tele-drama, and her film's too timid about its payoffs.

(Shown as part of the March 2006 Rendez-Vous with French Cinema Today series at Lincoln Center, Je vous trouve tres beau opened in Paris January 11, 2006.)

This is a nice romantic comedy about a French farmer who needs a wife (or cheap labourer) to run his farm, and who gets hitched to a young Romanian girl who needs money to raise her daughter.

The big problem with this movie is that the girl is tragically miscast. She is played by a talented young actress, who unfortunately can't patch over the fact that she is so painfully clearly out of her love interest's league. She's one of those surreally waifish girls the French adore so much. It's a case of the beauty and the beast, and it just doesn't hold water. Apart from that, a good movie. Until the farmer's visit to Romania to pick up his wife, it's a hilarious comedy, after that it's a complex (if implausible), and surprisingly intriguing, love story.

Michel Blanc is brilliant in a very difficult role. He's at the same time pompous and boyish, and would be the ideal match for an unlikely love story.

The unsung star of this movie is the entremetteuse, Eva Darlan. She is vivacious, beautiful and terribly funny. The movie loses a lot when she drops out of the plot. I think she would have been a much better, and not least much more credible, Elena.

Another problem with this movie is that they picked Romania as the rent-a-bride's country of origin. Fifteen years ago this would have been believable. Nowadays everybody knows that Romania isn't so bad as to make pretty girls so desperate to leave it that they'd gladly hitch up to a middle-aged French hillbilly. I don't understand why the writer didn't pick a more exotic and desperate country, Albania maybe or Ossietia or whatever.

If you're looking for humour and don't mind a hefty dollop of implausible romance, this is your movie.

"Forget you don't stand a chance, and just go for it! Who knows, it might work out of a misunderstanding!"

This is Jean-Claude Dusse's seduction advice from French comedy classic "Les Bronzés Font du Ski" and it sounds like the kind of quotes Woody Allen would have delivered in one of his early zany comedies. And ever since his film debut with the 'Splendid' Troop, Michel Blanc has always been a sort of Woody Allen's counterpart, never quite lucky with women, even managing to get bullied and towered by Gérard Jugnot. So he kind of makes a point with this cynical yet well-exposed tactic. Michel Blanc, like Woody Allen, was never cut for the leading man roles: bald, at 5'5 and with rather average looks, but he had a prolific career nonetheless and great films in and behind the screen. Still, he wasn't really love-story material.

But his self-derision made him lovable with this self-consciousness that inhabit losers and make them such appealing characters and Blanc such an endearing actor, and the merit of "Je Vous Trouve Très Beau" is to have exploited the best facet of the actor, from the chuckle inducing title. It means, literally, "I find you very attractive", which is one of the French sentences Romanian girls learn in order to compliment their French soon-to-be husbands, but when you have a bitter and grouchy farmer looking like Ayme in front of you, it's hard not to make this sound awkward. Even Aymé is tired of hearing women telling him that he's good looking, and when one of them, named Elena (Medea Marinescu) says that he's not that handsome, well, he's vexed but at least, she seems sincere. The film was made at a time where Romania wasn't in the European Union so I might understand why they were eager to flee to the country of "Tour Eiffel", "Moulin Rouge"… although with Ayme, they were candidate for disappointments at first sight.

But Ayme doesn't make himself more likable or sexy, he's rather straightforward about his expectations, he doesn't need a wife but a help, not a body or a heart but hands, and from the way he's seen interacting with his wife, shortly before her death, it's obvious that Ayme never had anything worth someone's love, not the looks, not even the time. But it doesn't matter, Elena doesn't want the fairy tale, she needs money to open a dance school for her little girl. As a matter of fact, she's the closest to a dishonest character, but I wouldn't call her that, because she seems genuinely interested in making Ayme's life better and it's painful to see her attempts and the cute way she brings him food at midday being welcomed with anger. Of course, we know it's a matter of time before Ayme's heart is defrosted, but the situations are so touching and humanly pleasing that the film is better to be enjoyed without really caring for the plot.

Indeed, it's only when the story must move forward a little that it gets predictable or needlessly contrived. The film is the directorial debut of French comedienne Isabelle Mergault who was mostly known for being a guest in a TV show, and this is a role no one saw her coming and yet she made one of the most successful films of the year. I'm not surprised because as she said, she was so scared she prepared everything, she had her story set and when she came at the field, everything turned well. I wish she would have trusted her story enough to enrich it with a few subplots. For instance, Ayme never says Elena is his wife, and there's a blooming romance between her and a young farmer that could have lead somewhere. This is a film that is so confident in its simplicity that it almost affords to be surprisingly good at some parts; so good you wish it had tried a little more at others. Also, I felt like some pivotal moments were missing and compensated by needlessly overwritten scenes.

There's a moment where Elena puts on a sexy nightgown and waits for Ayme in the bed, but when he comes, he yells at her and calls her a whore, she slaps him and leaves the house. When he comes to her, he apologizes, but then goes to a long speech detailing how he's not angry with Elena but himself. Here I thought the film could have done without it, because the characters are well-written enough so we know the anger isn't directed to Elena, so this part said a lot about the directors' lack of confidence in her material. The irony is that some parts are underwritten, besides the courting young farmer, how about Ayme's friend? When he discovers the truth, I don't see why he doesn't confront Ayme in a straightforward way instead of playing riddles with him. It didn't seem consistent with the niceness of this character.

The film isn't very ambitious except in telling a good love story and it does, thanks to the actors' performances, it doesn't take many risks but at least, we feel satisfied at the end, and it is so touching it inspired one of the most enduring reality shows about farmers looking for the great love. One might think that this film has hit a sensitive chord, if it had influenced a reality program that made couples possible and families. Not bad for a directorial debut.

This film will probably not be remembered in 10 years but it does not matter as it's not meant to be a 7th art masterpiece. The plot is simple but interesting, based on two facts: - the difficulty for French farmers to find spouses willing to settle in a farm; - the difficulty for young Romanians to get a decent job in their own country;

A market-oriented solution would be to bring together the offer and the demand. And it's exactly what the dating company is doing. The problem is that human beings, unlike goods, have feelings: - it's hard for a French farmer to understand a girl from Romania; - it's hard for a Romanian girl to leave her country and her past behind.

It's a nice reminder to those criticizing immigrants that it's always a last-resort and heart-breaking solution to move away from home in search for better conditions.

Two great actors: Michel Blanc and Medeea Constantinescu.

Last but not least, life in Romania is far from being as dull as the film pretends.

This is a charming story of unlikely companions cast together by circumstance and hard choices. It is interesting to see how the protagonists use their situation, once they have committed initially to their self interests, to pay each other back, and with love and compassion eventually find what they do not expect. Each phase of this progression is clearly imprinted in the viewer's experience from both points of view in a very patient, but not slow, immersion into the characters' hearts and psyches. The effect of this is to erase the viewer's point of view and leave the audience with a memorable impression of the whole, which is beautiful to behold.