Uma Doce Mentira

Beautiful to see these guys getting entangled in the lies. More hilarious at the beginning and then get more serious toward the end, although still amusing. Fun to watch but in real life, I would give them a shake.

Director Pierre Salvadori reunites with actress Audrey Tautou from their earlier collaboration Priceless, but don't get your hopes up too high that Beautiful Lies would be a solid enough follow up especially if you enjoyed their earlier film on how some would fake a relationship or trade love for money. Salvadori continues with the offbeat romantic comedy premise involving make believe with this film, but alas it came through as a rather predictable affair.

It's hard to sustain a relationship based on a lie, and things get a lot complicated here when lies become the foundations on which romantic relationships, favours and that between parent and child get all built upon, where an innocently anonymous letter from a hair salon handyman Jean (Sami Bouajila) to his boss Emelie (Audrey Tautou) the salon co-owner, gets tossed aside by the latter since she obviously paid no heed to it, only for that attention to be retracted when she realized that her mom Maddy (Nathalie Baye) is due for a romantic lift from her prolonged sustained depression since her husband Marc (Paul Morgan) left her for someone younger and nubile to be his artistic muse.

Thus begins a series of contrived misunderstandings and lies built upon lies with the constant letter writings from Emelie posing as an anonymous admirer, only for her ruse to be unintentionally skewed way off the mark when Maddy thinks it is indeed Jean who has hidden feelings for her, no thanks to an errant Jean had to run which took him to dropping off the letter. Naturally this follows plenty of hidden meanings and Emelie trying to come between the two for fear of an expose, guiding this film to some laughable light hearted moments.

But it turned into a chore with Emelie having to beg a reluctant Jean to continue a charade to entertain her mother for fear of her mental and emotional state, with Emelie none the wiser that Jean was actually the originator of the letter to her declaring his love from afar. Oh the pain involved to help a loved one in her time of need, yet having to compromise one's principles to act out a lie, and worse, to lead a senior citizen on in some hope of a second wind of romance. It may sound like a fun premise, but trust me, it certainly was a chore to the character of Jean, and somehow this translated to the whole narrative giving you that sinking feeling of being unable to bail out from something forced upon, and unpleasant.

Beautiful Lies got condemned in a certain way with a whole host of unlikeable ones. Emelie begins with a good intent, but in efforts to save her own skin from embarrassment and to keep her madcap idea under reins, she turns into some crazy control freak who frequently lies, manipulating Jean and of course causing undue strain with her staff at work. Manipulative and scheming, Audrey Tautou does pull this one off to a certain degree, until it became repetitive no thanks to Emelie's constant exasperation. Jean also went into an about turn with his descend into probably one of the biggest cinematic jerks as well, one without courage to walk out of a morally compromising position, and assisting an ugly (on the inside) woman with her grand scheme. Only perhaps Nathalie Baye's portrayal as the emotionally helpless mom brought about some light to the film, if not for the last few scenes of the film to really show her off as an opportunist with no qualms to turn tables.

Without characters you genuinely feel for and a narrative that was in a hurry to conclude with a convenient ending sticking out like a sore thumb, one too perfect in many ways to sweep all development under the carpet, Beautiful Lies is extremely far from beautiful, and you would probably be better off watching any of Tautou's earlier works. Certainly not one of her best roles to date, stuck in a story based on a joke that had gone too far it isn't interesting.

What could the director of a romantic comedy in 2010 wish more than to have in the cast Nathalie Baye and Audrey Tautou in the roles of a mother and a daughter entangled in a love intrigue that has as its object (or the third tip of the triangle if you want) the same man? Film director Pierre Salvadori (also the co-author of the script) had this opportunity and the result did not live up to my expectations. 'De vrais mensonges' (meaning 'True Lies' although the title chosen for the English version is 'Beautiful Lies', probably to avoid the conflict with the American 'True Lies' featuring Schwarzenegger and Jamie Lee Curtis) manages to be just an acceptable summer comedy in which the best thing is the presence of the two actresses, still leaving the feeling that they are used below their exceptional potential.

The biggest problem of Audrey Tautou's career may be the fact that she realized so early a role unique in beauty and emotion as 'Amélie'. The result was that the scenarios offered later, and sometimes the directions, also tried to emulate that success. To add to the confusion (maybe intentionally) in 'De vrais mensonges' the heroine is called ... Emilie, kind of an Amelie ten years later who tries to do exactly what Amelie did, that is to make everyone around her happy and first of all her mother (Nathalie Baye) traumatized by the fact that her husband (Emilie's father) had left her for a much younger woman. However, Emily neglects herself, including her own feelings. When in the beauty salon she owns she hires a maintenance man who turns out to be much more than that and who secretly falls in love with her, the premises are ripe for a comedy of situations having at the center a triangle of insecure lovers who send each other anonymous letters, lie to each other, suffer and deceive those around them, but especially lie to and deceive themselves.

Acting is up to the expectations. Audrey Tautou continues to mesmerize us with her unique eyes and tangles in the complications created by her own kindness, while Nathalie Baye adds to her record another role as a mature woman who struggles with courage and partial success with age, keeping her beauty and sex appeal. The triangle is completed by Sami Bouajila in the role of Jean, the romantic electrician who also turns out to be a polyglot and the owner of an impressive library. However, the main problem of the film is the schematic approach and the simplistic comic of situations. The idea of the epistolary misunderstanding is an excellent starting point, but what follows does not exceed the level of a television sitcom, and actually not a very successful one. what a pity. This movie could have been much more interesting than it came out.

This is a light romantic comedy from France that actually does have a few edges. Which means it's not too straightforward, but it also means that it has some story developments that might not be to your liking. Especially if you believe the cover text (about this having the heights of Amelie).

Do not even think about Amelie (it might seem difficult but our Amelie sweetheart is capable of being someone else too), because this will spoil your movie experience. I liked this a lot because, the characters seem so real and therefor you really feel for the people/characters and what they are going through. Not everyones taste obviously this is a nice touch on a genre :o)

As usual I won't try to resume the story since so many have done so and much better I'd put it. But our group of Six, three couples enjoyed it thoroughly. We've seen Audrey Tautou in quite a few movies by now and yes we did laugh a lot and sometimes loud. So if some reviewers want to put it down so be it but I think it should not deter anyone else to be well entertain. I get a little amused when I see some of those critics about the story falling in "very predictable" along other criticism. But I seem to remember in my early years around Paris going to the "Comedie Francaise" with our class, and for a "penny" thus perched on the very top of the theater we would laugh our belly out watching plays like "Tartuffe" sometimes corny to the most and predictable to no end but always very funny. Don't quote me on Moliere's Tartuffe as it is simply one of the play title I just remember. The point these were masters plays and their "farces" were very funny too. Although I'm sure one could just as easily pull them a part. Going back to "Beautiful Lies" (and why this language decided this tittle against the French literal translation " 'Some' True Lies)? I think it sustained a good pace and good timing to let us appreciate the humour. I, perhaps, would have like a more speedy and decisive ending once everyone knew what really had happened - however this really would only apply to the last ten minutes. Don't fear go and see it. It'll take your trouble away for the duration!