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Very rarely are movies made about unrequited (one-sided) love and love lost, let alone musicals. It's good and somewhat interesting; though it tests your patience a lot. With the terrific star-cast it has, I expected a lot more. It falls short of a definite and good plot, and it lacks heart.

Catherine Deneuve is not even utilized properly. Ludivine Sagnier is charming; it's amazing how much she has grown up since Ozon's 'Swimming Pool'. And it was delightful to see Paul Schneider in this French musical. The remaining cast just does their job, which is not much.

Even though it's a musical, the songs are quite average. The only song I actually loved is 'Ici Londres (Heaven Knows)', sung by Chiara Mastroianni and Paul Schneider.

This film has a great look and the acting is good and engaging. I don't understand why it is a musical? I should clarify that I am not a fan of musicals, especially when the song comes out of no where. Give me "Cabaret," "Judy," or "Nine." Those are superb musicals that make sense, ever number happens on stage, and in the case of "Nine," in the imagination of the director who is struggling with writer's block.

Let's get the hard part out of the way: most Americans are going to hate this movie, so if you're an American, or if you're not an America but your taste runs toward Hollywood blockbusters, don't waste your time watching Beloved and our time reading about how much you hate it. It's a very serious, complex, slow-moving (almost 2½ hours long, with no more than ten seconds of action), lyrical movie about messed up people who break into song at nearly every opportunity; and they're not typical American show tunes, or hip-hop, or rock in any form at all. Even when some of the lyrics are in English, the songs sound French, and I'm sure to 80% of American ears they all sound the same. Unless that prospect intrigues you, or you're already a Christophe Honoré fan, look elsewhere. You won't like this movie. You'll probably hate this movie. You've been warned - you have no excuse now for watching it and then telling us all how much you hate it.

Now for the easy part, because now I'm talking to people who either already love Christophe Honoré's movies or are open-minded and curious enough to give them a shot. Beloved (thank God they've set that wonderful title free from Oprah's maudlin clutches) fits perfectly in line after his marvelous Chansons d'amour (Love Songs) and haunting La belle personne (The Beautiful Person). Each movie in that trio is more complex than the last, and each one is better than almost any movie made by anybody else. Love Songs, especially, has continued to send unexpected waves of joy rolling my way since I first watched it (I just realized) exactly three years ago today.

Love Songs is special to me in part because the core relationship in it is between two men (I'm gay), and it's probably the sexiest, most beautifully realized gay relationship I've ever seen in a movie. One of the leads in Beloved is gay, but none of the core relationships (there are several - as I said, it's more complex) in this movie is gay. I thought that would be a turn-off, but it's not, and here's why: Chiara Mastroianni.

I've seen Mastroianni before (she has a supporting role in Love Songs), and I've even seen her act with her mother (Catherine Deneuve) before, in André Téchiné's Ma saison préférée (My Favorite Season) nearly 20 years ago. I've never seen her carry a whole movie before, as she does this one - and she's fantastic.

She and the gay man connect, sort of - as much as any two people in this complicated movie connect. Normally I'd really hate that, because I'm so sick of gay men in movies hooking up with women I could pull my hair out. But she's so good in this movie - her Véra is such an appealing and interesting character - that I don't mind. Getting to see how good SHE (Mastroianni) is is worth it.

The rest of the cast is great too. Deneuve gets earthier and more accessible every time I see her, which is good because I couldn't stand the Ice Princess she played for the first several decades of her long career. Either she's opened up a lot in the last 15 years or so or directors are finally discovering how good she is playing other kinds of roles.

Louis Garrel, Ludivine Sagnier (both also in Love Songs), Paul Schneider (an American actor I'd never seen before), and Czech director Milos Forman in an acting role for the first time that I've seen - all are very good.

But the star of any Christophe Honoré movie, for me, is Christophe Honoré himself. He takes conventional movie elements - comedy, drama, romance, character study, music, song and others - and weaves them together in fresh and unconventional ways that yet never seem forced or precocious. I wouldn't try to explain anything he does because I wouldn't know how to. All I know to do with his movies is relax, let go, and let him take me for a ride. It's always worth the risk.

The problem with this film is Christophe Honoré. A 2 and ½ hour film about self-indulgent people explaining why they are unhappy at being self-indulgent. It could have been done one hour shorter. The half musical score is a feeble attempt to be the the Umbrellas of Cherbourg. Trying to be French new wave cool instead of being good. I'm convinced Christophe would have tried to make a musical out of Cloud Atlas. I love the cast but after 2 and ½ hours I was wishing they would take an overdose and end my suffering and theirs. Catherine Deneuve, always beautiful and her daughter in film and real life, Chiara Mastroianni, convincing as a seductress, but they were the only high points in the film for me. I rate this film a good sleep aide..

Way way way too long. The nearly three hour run-time is longer than all the parking meters in the area of the theater, so i even risked a parking ticket to see the end of this flick! Lots of actors from a previous Honore musical: "Love Songs" (which ran a respectable 100 minutes). Sagnier gets the movie off the ground and then Deneuve sinks it. Mastroianni also greatly helps toward its floundering. I suppose most blame should be heaped on either the director or producers for allowing this thing to go to distribution in its present state. There might be a decent musical in there somewhere. Ludivine Sagnier is one of the many attractive gems of European Leading Ladies of the cinema. She and Isabelle Huppert are my favorite French Actresses nowadays. It's always tricky to cross generational lines and use different actors for the same character in different stages in life. Even the most forgiving viewer might find himself at odds reconciling the tall handsome young "Jaromil" with his older version, regardless of how well and charming the part was played. If you liked "Love Songs" then you will feel at home with the Alex Beaupain score.

I was surprised to see that most people across the internet hate this movie. I don't (and I am a recent Film grad, to qualify that). In fact, this is one of the most perfect movies I've ever seen, and one of my top 3 favorite French films. I was incredibly surprised by how long it was. A musical-y epic? But towards the second half I could actually sense how devoted Honore must've been to this movie, and why he didn't want to compromise it by condensing it. I watched this on my laptop logistics-wise, so I didn't have the same experience as someone stuck in a chair in a too-cold theater. The soundtrack? Exquisite. The cast? Perhaps could've been improved upon, but it's the familiar Honore cast and as such carries with it solid chemistry that was essential to the story. It channeled the Umbrellas of Cherbourg, with its lovely palette of colors. Yes, it has songs, and *yes* it took creative license. My imagination is vivid, so I didn't have to tax it too much to buy the story. I think the <25 demographic would prefer it more than the 30+.

I feel that people had problems with it because they were expecting a da Vinci, but this is highly Impressionist in spirit.

I read most of the crass reviews here with a sense of incomprehension. Anyone with eyes to see and a minimum of intelligence should be able to perceive that this is an incredibly ambitious film, and like it or not, it is an excellently made film. There are certain films of Christophe Honore that I do not respond to, and have expressed it in some of my reviews, but he is undoubtedly one of France's greatest directors. This I feel is his most complex and greatest film ( of all that I have seen, which is most ). It disturbs as much as it delights, and my viewing of it fluctuated between the two. My conclusion was it is better to attempt the Mount Everest of loving another than not at all. The cast is perfect and I do not want to single out one over another. But it is the content that makes it so perfect interweaving both historical events in History ( 1960's to this new troubled 21st C ) and the histories of a fully rounded set of characters. Honore's canvas of life and death is full to the brim, and yes there were moments when I was troubled by what I saw; deeply troubled at what people inflict on each other, and mostly in the name of love and love's rejection. The songs sometimes irritated, but the core of feeling is often expressed in music and what a stroke of genius to have Janacek's String Quartet which is entitled ' Intimate Letters ' recur often in the film. I am not sure I will watch this film often because hardened though I think I am it is a vision of life that is not afraid of looking at the worst of life in the face. I also think I saw a final homage to Preminger's ' River of No Return ' which is a misunderstood film in itself. A complex, fine achievement of a film.

This review can't possibly contain plot spoilers as there was no plot.

Acting was average at best.

Singing was just awful. I didn't even know it was a musical (term used loosely here) until someone started 'singing'.

The storyline was largely incoherent and when it was coherent it was criminally bad.

We, along with virtually everyone else, left the cinema before it finished so I don't know how it ended but I can guarantee that it was terrible unless the final scene was Ashton Kutcher revealing that we had all been Punk'd.

All in all it was very disappointing, if slightly unintentionally hilarious, and a poor representation of the French film industry

The idea of this film is alright: We always try to love someone who does not respond our love. On this way we add one affair to the other without caring for the people we hurt. I personally think you could make a good film out of all the star actors and this basic idea, but this is not a good film. I cannot recommend it at all. Why? You can see here bad acting, strange characters and an overloaded story. Especially the characters do not make any sense. This wanted to be an Almodovar-film or Philip Kaufman's The Unbearable Lightness of Being, but it was none of it. It wanted to dance on the verge of the tragic and humorous, but it was neither tragic nor funny. Shame! So much money, such an opportunity.

This film is remarkable.

Beautifully shot, full of inventions, the film is extremely refreshing as most of Honoré's work. The tone is pop and lighthearted, while addressing unconventional subjects, such as elder's sexuality.

The casting is impeccable as always with Honoré. If the duo Deneuve-Sagnier and the depiction of a female character of that generation had a taste of dejà-vu (Ozon? Todd Haynes?), Honoré managed to make it feel like unexplored territory. But that's with Vera's character that Honoré is at its best. Mastroianni is AMAZING!! You've never seen a woman in her late 30's depicted that way in a movie.

The downturn of the film are the singing parts. It really doesn't work and it's even painful to watch. Other than Jacques Demy's films, one can think of Resnais's "On connait la chanson", Ozon's "8 femmes" or Ducastel & Martineau's "Jeanne et le garçon formidable" as examples of the successful mix of serious subject matters and musical. But with Honoré, it doesn't work (with the exception of the elegant telephone scene with Duris and Preiss in "Dans Paris"). It's tempting to just recommend to skip the singing parts as the film is otherwise quite long.

Other than that, the film is a must see.

I rather enjoyed the first 45 minutes of "Beloved." Ludivine Sagnier, one of my favorite actresses, plays a 1960s French woman who is confused by love. I was still with the story as the years passed and Sagnier matures into Catherine Deneuve, in a nifty bit of casting. However as the story shifts to that of daughter Vera, it all becomes a bit too morose for me. Vera for some reason becomes obsessed with a man who cannot love her back. It's hard for us to see any reason for this obsession. It simply appears the young woman is eager to destroy her life.

There are very strong echoes here of the Truffaut film "The Story of Adele H." Truffaut, however, was well aware he was filming the story of a woman's descent into madness and hell. In "Beloved," director Christophe Honoré takes a similar story but shoots it in a very different light. He seems to think there is something so very romantic about desperately loving someone who cannot possibly love you back.

Honoré throws in everything but the kitchen sink here, covering topics from Aids to 9/11. But, at around 2 hours and 20 minutes, it's all too much for such a morose topic. I probably should have turned it off after those first 45 minutes.

Catherine Deneuve and her real life daughter, Chiara Mastroianni star in the saga of their lives from the 1960's to 2001. The two are beautiful which is the point: Life is hard even when you are beautiful. The daughter doesn't feel loved. The two men in her life are Paul Schneider and Louis Garrel. Her father loves her. Her mother loves her. Somehow it is not enough. Loudvine Segnier plays the young Deneuve. The repeated refrain is: I can live without you, but I can't live without loving you.

Then it is said that loving another makes you a different person. And when that person is gone, you are still the person you became when you loved each other.

The French know more about love than other cultures. I will try to see this again, because I loved the singing. The lyrics were so simple.