Vidas Duplas

Very disappointing film from a good director. First of all after twenty minutes you notice that all the discussions about the effects of internet on publishing industry is passé, characters conversations about ebooks versus paper books are repetitious and boring. All main characters are one dimensional and we don't learn anything about them expect that they all have affairs and husbands infidelities are surprisingly acceptable by their wives. There is no drama or plot to follow except affairs and talks about ebooks !!

As others said it here, this is a very French film. It's also very verbal and very witty, though most of the text is there only as a vehicle for the story itself about the relationships between four friends two of them being a part of the French literary circle, and their wives. The only reason this thing works at all, is the fact that all of the cast oozes charm. One keeps on watching them talking and talking, because they're so very charming doing it, their wit flows naturally. But the truth is that we didn't really get to see here great original story. All we've got here is an endless verbal deluge, delivered with a certain French smile of self awareness, and as I already said, with loads of charm. If that's enough for you, you'll love this film. I found it a bit longish, I thought the director didn't really know how to end it, so he tried a few endings and left them all in, a mistake not suitable for an experienced director. But that's about it.

Greetings again from the darkness. Kids today (shake your head while saying it). No one reads anymore, and when they do, it's only e-books and blogs. Such is the ongoing discussion throughout this latest from writer-director Olivier Assayas (PERSONAL SHOPPER 2016, CLOUDS OF SILS MARIA 2015). Lest you think the debate between traditional hardback books and digital literature takes up the full run time, you should know that such serious discussion is wrapped in a more traditional French sex farce ... and a quite entertaining one at that.

Guillaume Canet (the excellent TELL NO ONE, 2006) stars as publisher Alain Danielson. He has a lunch meeting with his client and friend, author Leonard Spiegel (a very funny Vincent Macaigne) where he declines to publish Leonard's latest manuscript. Alain claims it's too easy to identify the real people mentioned in the story, despite the name changes. Leonard says it's "auto-fiction", meaning his writing takes inspiration from his life. One of the ongoing gags (no pun intended) revolves around an inappropriate act in the theatre during a screening of Michael Haneke's WHITE RIBBON - or was it during STAR WARS: THE FORCE AWAKENS? Such is Leonard's sly way of disguising his characters and life.

Juliette Binoche co-stars as Alain's wife Selena, and Ms. Binoche takes full advantage of one of the few films where she can flash her comedic chops. Nora Hamzawi plays Valerie, Leonard's wife, and she is delightful as the spouse who refuses to build up Leonard's ego or provide any boost whatsoever to his confidence. Instead she spends a great deal of time reminding him of what his critics are saying. The final piece to this puzzle is Christa Theret, who plays the Head of Digital Transformation for Alain's publishing house, and is the constant instigator in the push towards digital.

Quintessentially French may be the best description for the film and these characters. At the dinner party, the conversation is stimulating and intellectual, while in their personal lives, it seems everyone is sleeping with someone else. Most every character worries about infidelities, while it's a part of their own life. Even Twitter is treated as "very French" in that it consists of '4 very witty lines'. Clever lines are spoken frequently, especially from Leonard who says he writes "feel-bad books" rather than the usual "feel good" ones. And Alain refers to Leonard's last book as "a worst seller".

Fewer readers, books vs digital, and the popularity of blogs all play into the generational debate of change/progress vs traditional ways. Whether books and libraries are a relic of the past is certainly a viable topic, but the comedy-infused relationships keep the film from ever feeling too heavy. Ms. Binoche has a recurring bit where her TV role is misidentified as a cop, and she (in character) plays along with what may be the first ever Juliette Binoche on screen joke.

Filmmaker Assayas previously tackled art appreciation, or the lack thereof in modern times, with his 2008 film SUMMER HOURS. This time he turns his attention to literature and we can't help but notice some similarities to the works of Woody Allen and Eric Rohmer with the vibrant dialogue and awkward relationships. The French title translates to "Double Lives" which is not only a better title, but also a more descriptive one. However, by the time the 'Martian Martian' song plays over the final credits, you will likely feel entertained ... in a mostly French manner.

I have, of late, become quite a fan of the films of Olivier Assayas, though I was put off this, his last to show in London, by some very iffy reviews. It is, however, fine. I enjoyed it and if there is not much story to relate there is pleasure enough, for me anyway, listening to the various conversations. Conversations about the writing and reading of books and each others wives. The French title is Doubles Vies which translates directly as Double Lives and is perfect, so much so that it amazes me that it was ever changed for the US/UK market. Surprisingly devoid of politics, which is a surprise considering some of the director's previous films. The only real reference is to a disgraced would be leader and comments made suggesting people go into politics to satisfy their own ego rather than to effect change and perhaps this is Assayas' justified snide political comment.

"Books are no more threatened by Kindle than stairs by elevators." Stephen Fry

If you like things French such as conversation, books, love, infidelity, bourgeoise comforts, Eric Rohmer, and Juliette Binoche, then go right to Olivier Assayas' Non-Fiction. Here's a fiction film about incessant arguing over books vs. e-books, roman a clef, and the politics of publishing in a world where the Internet is shaping even the way talented authors structure their dramas.

Books and the Internet, along with the shape of e-books, informs almost every heated discussion of the fetching comedy with a bit of darkness to make it oh-so French interesting. Publisher Alain (Guillaume Canet) refuses to publish long-time writer and client Leonard's (Vincent Macaigne) newest novel possibly because Leonard has a habit of disguising well know people in his characters, this time may be Selena, wife of Alain, and lover of Leonard. After six years of this tomfoolery, do you think Alain might know?

While Assayas has a good old time with this old-time French drawing room stuff, all get togethers evolve into arguments about the viability of hard-bound books versus digital newcomers. No conclusion is made, except for the viewer who delights in the robust shenanigans that disguise the obsession writers and publishers now have over the mortality of books, hard or soft.

Regardless, the middle-aged literati are disguising their own fear of extinction in the face of Tweeted emotions in so many words and young folk who may not read anymore anyway. Even promotion of a book must attend to the right navigation on social media.

It's all heady words for this word lover who is delighted by such clever screwball setups and the idea, like any debate about the existence of God, that because we talk about books, they will endure. This comedy is not so much raucous as it is profound with a whole bunch of French sensibility and sex. I vote for that to endure right along with books.

"Lovers of print are simply confusing the plate for the food." Douglas Adams