Roman de gare

Judith Ralitzer (Fanny Ardant) is a major French writer, or so the world thinks. The truth is that another writer, Pierre (Dominique Pinon) has been "ghosting" her books for seven years. The duo are to meet in Cannes to discuss their future endeavors. Ms. Ralitzer was also once married to a wealthy vineyard owner who died relatively young. Did she have anything to do with his death? Meanwhile, Huguette (Audrey Dana) is traveling with her doctor-fiancé to her parents' home in southern France. Alas, they have a big fight and Huguette is abandoned by her intended at a petrol station. In the station's coffee shop, she meets a kind gentleman who offers her a ride. What she doesn't know is that a serial killer, who employed magic tricks to snare his victims, has escaped from a French prison. Should she accept this stranger's offer? At this same moment, too, a Parisian wife reports that her husband is missing and doesn't know which way to turn. However, she does like the looks of the detective assigned to the case! This is an intriguing film with plenty of energy and suspense. The cast is quite nice, also, with Ardant giving a nice turn as the arrogant writer. Dana, too, makes a beautiful, mixed-up heroine. Pinon does not have the looks of a leading man but is quite fine as the major male lead while the rest of the cast is more than adequate. Naturally, the scenery in France is beautiful but one might be surprised at the rustic nature of Huguette's family abode where there is not the least hint of sophistication. One must also compliment the well-chosen costumes, the fascinating script and the sure direction of Claude Leloush. If you are searching for a film that will render an alternative movie experience from the standard Hollywood fare, do roam to the theater and plunk down some dough for this one. You will not be disappointed.

A multifaceted story which - apart from being interesting, well filmed and well acted - keeps the spectator getting ideas about what is really happening, just to have those ideas destroyed a few minutes later. Everything is thrown in: personal stories, criminal events, the French publishing world, sex and romance in a complex and fascinating whirlpool that ensures that you'll pay close attention. Highly enjoyable film, which is and yet is not a "film noir". The main male character can be offputting, which is not surprising, considering that he might be - underline "might" - a serial killer. The female roles are very good, with Fanny Ardant in a superb performance. If you think you'd like an intriguing movie that requires you to think, don't miss it.

An interesting film with a solid storyline, interesting cinematography, and compelling performances that draw you into the whole effort.

At first I feared the numerous plot twists and turns were going to be too convenient or too obvious as false flags, but the writer and director handled things adeptly when all was said and done.

The three main characters were extremely engaging, and ably supported by the minor players. If you like expressive eyes and two-edged dialog, this is an evening out well spent.

Highly recommended, especially if you need an excuse to start liking the French... (which means you haven't seen Amelie yet). ;-)

ROMAN DE GARE has a lot going for it. Start with one of France's biggest stars, "jolie/laid" (beautiful/ugly) Fanny Ardant. Add Domique Pignon, the brilliant and quirky circus performer turned actor who starred in DELICATESSIN, CITY OF LOST CHILDREN, and AMELIE. Add Audrey Dana as Hugette, a lovely "rocker chick next door" type & hairdresser wannabe, who gives a knock-your-socks-off performance in one of the most interesting victim roles written for a woman in years. Add a fantastic, complex, multi-layered mystery-thriller script that holds your interest and is tight-as-a-drum.

Toss in a serial killer on the loose, a husband who has walked out on his job/wife/and child, a ghost writer for a famous author, a handsome policeman in love with an overweight housewife, a murder, and a brother/sister magic act. Finally, the core of this film takes us to the kind of French countryside we never see... French "hill country" that is like a ramshackle farm in West Virginia, where education is poor, and the house a modified stable.

Instead of being a mess, all of these elements pull together so simply in a way that feels everyday and natural; because ultimately this film is about the complexity of modern life.

For those who like to look deeper, we have the significant, meaningful themes of "wanting to run away from your life," and the modern inability to know who anyone really is - the essential modern mistrust. Ardant's character doesn't even know who she is herself, and it is shown in persistent yet such subtle ways throughout.

For those who don't like to look deeply, the good news is that you don't have to. ROMAN DE GARE glides along and keeps you engaged throughout. It keeps you guessing... we know we are seeing one of the books being talked about, but we don't even know for sure which book we are watching.

The film SWIMMING POOL mined similar territory in the literary world and has a mind-bending ending that alters your perception of the whole film. We are set up for that kind of ending here, and I left feeling disappointed. It is only now, several days later that I feel this is one of the most deft and well orchestrated films I've seen in years. We go from a yacht in Cannes to a highway rest stop, and there is no "comment" on the social contrasts, it just is. To have it all feel organic and natural is the real magicians art - the work of a confident and mature filmmaker.

The production values are as high as you would expect with big stars in the leads. The costuming touches say so much. The hairdresser's trashy trendy high-heeled boots, Ardan'ts frankly fake wigs and obvious foundation makeup are the touches that speak to the inner personality. The fact that "Hugette" is the smallest woman is worth noticing.

Really modern. Really complex. Really entertaining. Really Real. See it.

After the unfair successive failure of the aborted trilogy of "La Comédie Humaine", we thought that Claude Lelouch was broke for a long time whereas Roman de Gare is released less than 2 years after "le courage d'aimer", the second and final opus of the forecast trilogy. Shot in secret with a nom de plume, Roman de Gare recalls a little of the freshness of the Lelouch of the 60's, but also lacks of the grandeur we were used to: the image quality is pretty poor, the cast is not all stars, though Fanny Ardant, Truffaud's egerie is superb as usual, we feel Lelouch had really little money to shoot; not a great music as usual(late Gilbert Becaud was a respected French singer, but the choice of the songs does not highlight the scenes to my feelings), the story is centered on a murder story, but is actually a pretext to demonstrate once more the human and love relations that the director is famous to be a passionate of. Not the greatest Lelouch, but not boring either due mainly to an unusual funny script and a pretty good acting.