Odeio te Amar

If like me you like French films, you will like this one. There is no

plot to speak of and no time wasted in car-chases and violent action

sequences. There is just fascinating dialogue and the interaction of

intereresting characters, plus the expression of real emotion and

nuances of feeling. There is an intimacy with the characters that is

typically French and which the Americans rarely achieve. At the end of

the film you feel you know and understand these people and are wiser for

having known them.

I loved the performance of Catherine Frot in the film, She was delicious

and made the character of Yolande incredibly appealing and lovable.

What a crying shame she should have shackled herself to such a

self-centred, unappreciative husband. He was the luckiest man alive and

yet too obtuse to realize it. Hows appallingly sad.

The high-light of the film for me was the little dance Yolande had with

the quiet, philosophic bar-man Denis, played by Jean-Pierre Darroussin,

who, revealing his kind heart, offered to dance with her when her

insensitive husband refused - despite the fact that it was supposed to

be her birthday celebration. Denis's skillful dancing surprised them all, and disclosed a whole new

aspect of his personality. There is a touching moment at the bar when

Yolande, suspecting Betty's romantic interest and trying to encourage

it, says to her with a lovely winsome expression; `He's a good dancer.' And at the end of the film when Betty and Denis are seen to declare

their love for each other, she says delightedly, to the chagrin of her

snobbish and spiteful mother-in-law; `You know what this means? It means

he's going to be

This is exactly the sort of film you'd never see coming from Hollywood, as it has no flashy stars, a very simple script and it's about people and relationships. While this might easily bore teenagers or those who long for explosions or boobies in their films, if you are an adult looking for a movie that doesn't insult your intelligence, then this is a movie for you.

The film's premise is simple. A mother and her three adult children and their spouses get together every Friday night for dinner at the same nearby restaurant each week. However, this night is different because one of the spouses (who you never see in the film) has just walked out and the time-honored tradition is thrown off kilter. It seems that because the usual routine is thrown aside, over the course of the evening, the normally happy family veneer is slowly pulled aside--revealing the ugliness and pettiness of some of them. Interestingly enough, the most interesting character in this whole thing is a non-family member (who works for one of the sons). In a way, he seems almost like an audience member watching the craziness and only later reacting to it. Fortunately, while there are some minor fireworks, all the family problems seem real and you can relate to them--this is NOT a tacky film where one person announces they are getting a sex change or another announces that they are having an affair with a chicken! No, the problems seem real and seething just under the surface. Additionally, how you perceive each family member changes a bit over time as more and more of the veneer is pulled away. One minute you like or are concerned about one of them, the next you want to slap them upside the head--just like a REAL family! I am glad that while the problems were revealed, there were no easy answers or pat resolutions. Like life, at the end, you are left wondering what will transpire next and I sure would love to see a sequel to this excellent picture. Good writing, direction and acting--this is such a simple but well-made little film.

The movie "Cuisines et Dépendances" (1993) had revealed Jean Pierre Bacri/Agnès Jaoui's original talent. Here, "un air de famille" (1996) which is once again an adaptation of a play written by the duo constitutes a kind of extension and especially a clear improvement for them. This movie made by Cédric Klapisch is very superior to the first quoted movie although "Cuisines et dépendances" is a worthy work. The meeting Bacri-Jaoui-Klapisch shines to delivers a stunning flick. It is difficult to tell because it is so rich and crowded with incident that it would take several pages to sum it up. So, to tell you the main reasons that justify the vision of this film, I will go to the essential.

3 things confer to the movie a strong appeal. First, the scriptwriters have the remarkable gift to make sparks fly from the single cue and to let what is left unsaid and the suggested leak out. Dialogs are also their best weapon to revamp the middle-class' image but also to harm the characters' meanness and faults. This last feature enables to Bacri and Jaoui to distinguish themselves in the French comedy. It is their recognizable stamp to disclose certain faults that we have inside us but which we really don't want to admit. In this way, it is quite easy to identify with the characters. We have a little "air de famille" with them.

But "un air de famille" is also worth for Klapisch's accurate making with an outstanding work on the lighting effects. The lighted café contrasts with the dark restaurant in the background of the scenery. Moreover, the split of the family amazingly answers to the dreary aspect of the scenery. Little by little, the film becomes a stifling In Camera tempered by a few sequences which relate childhood memories.

In another extent, there's another strong point from Klapisch: the directing of actors which is flawless and well studied. Personally I think it is a real treat to see Jean Pierre Bacri coming and going in his café, with his sullen look. Beside him, Catherine Frot is irresistible in her role of silly woman while Jean Pierre Darroussin is the sole stable character in the middle of this family which is slowly breaking up. He also tries to bring his support and comfort to the members.

"Un air de famille" is a smart and ferociously funny movie. Jean Pierre Bacri and Agnès Jaoui rank among the finest comical authors of the nineties and Cédric Klapisch can without problem join the group of the best French film-makers of his generation. Don't miss this movie which will give you another image of the French comedy.

If like me you like French films, you will like this one. There is no plot to speak of and no time wasted in car-chases and violent action sequences. There is just fascinating dialogue and the interaction of interesting characters, plus the expression of real emotion and nuances of feeling. There is an intimacy with the characters that is typically French and which the Americans rarely achieve. At the end of the film you feel you know and understand these people and are wiser for having known them.

I loved the performance of Catherine Frot in the film. She was delicious and made the character of Yolande incredibly appealing and lovable. What a crying shame she should have shackled herself to such a self-centred, unappreciative husband. He was the luckiest man alive and yet too obtuse to realise it. How appallingly sad.

The high-light of the film for me was the little dance Yolande had with the quiet, philosophic bar-man Denis, played by Jean Pierre Darroussin, who, revealing his kind heart, offered to dance with her when her insensitive husband refused - despite the fact that it was supposed to be her birthday celebration. Denis's skillful dancing surprised them all, and disclosed a whole new aspect of his personality. There is a touching moment at the bar when Yolande, suspecting Betty's romantic interest and trying to encourage it, says to her with a lovely winsome expression; "He's a good dancer." And at the end of the film when Betty and Denis are seen to declare their love for each other, she says delightedly, to the chagrin of her snobbish and spiteful mother-in-law; "You know what this means? It means he's going to be part of the family."

Mr. Klapisch continues to mark himself as one of the finest directors of his generation; with simple means, he tells tales which stick close to the bone of contemporary life, and he knows his territory quite well. This French family could not ring more true, and it is in the subtleties - such as the scenes of the "successful" son who is nonetheless hounded by the biting criticisms of his family - that Klapitch really distances himself from his contemporaries. There is little of the long-windedness or preciousness of some of the current flock of young directors, and his films never glibly mock their characters, which can leave more chilling - or uplifting - conclusions towards the end of their tales. It seems that every time a movie is adapted from a play people seem to harp on its "theatricality" - almost as a matter of course - yet this film works quite well on the screen, and the visual qualities of the storytelling are numerous, while the cinematography is superb throughout. I must also add that, despite the fact that we are discouraged from reacting to existing comments on this page, the comments of the reviewer from Dublin, Ireland are among the most ludicrous I have seen on these pages; Un Air de Famille - it is a superb title in French - is one of the finest films to come out of France in the last decade.