Vénus beauté (institut)

VENUS BEAUTY features France's fabulous Nathalie Baye, entering middle-age, as is her character (Angle) in this dramatic comedy. The Venus Beauty Salon is the location for this interesting personality study, not only of Ms. Bayes' character, but also of the personalities of her clients, admirers and co-workers. The film functions very well as a French modern slice-of-life study, across age, income, gender and social groups. Angle's pain in dealing with her sex and emotional life is very well depicted. Ms. Baye is aided by an excellent supporting cast including Samuel Le Bihan as her love interest. Le Bihan has been named France's "most promising young actor", and shows us why here. The movie really draws us into the lives of those who inhabit or pass through the Venus Beauty Institute, a microcosm of Parisian life in the 90's.

This story revolves around the employees of a beauty shop in Paris. It's not quite an ensemble piece because there is a main character.

Nathalie Baye plays a 40-year-old woman, Angèle, who is going from one fling to another. Angèle doesn't believe in love anymore. She thinks it only brings pain and that love is a form of slavery. She's a very attractive woman but looks sad all the time and her friends notice.

Audrey Tautou plays Marie, another worker at the salon, and she's a plain country girl who starts having an affair with a much older man. Mathilde Seigner plays Samantha, who is tough on the outside and has lots of boyfriends, but is hurting inside (she tries to kill herself on Christmas Eve).

But Angèle is the focus of this film. We see her sitting with a man in a train station cafe at the beginning of the film, confident that he's enamored with her, but he brushes her aside, saying it was just an affair, and walks away. Then Madame Nadine, the beauty shop owner, tells her she needs to fix her appearance and apply more makeup, which only adds to her depression.

Along comes Antoine, a much younger man, who saw the spat at the train station and who follows Angèle back to where she works. He approaches her and professes his love for her, really his obsession for her. Angèle isn't interested in a relationship and Antoine isn't interested in casual sex, so things don't look good for the pair. But as the story progresses, she opens up to him and by the end they're both in love with each other.

I would have liked the film more than I did if the character of Antoine had been different. He's got a good physique and is much younger than Angèle, so I can see why she'd be attracted to him, and she's a good-looking woman, so I can see him being attracted to her, but as two people, I didn't really see the chemistry between them. Antoine seemed a bit too immature to make this romance seem true. But he is open and tender, and Angèle is vulnerable and needs some extra care, so maybe that's the key.

Anyway, the characters were all interesting and the acting well-done. There was a tender poignancy in the relationships between the people in the beauty shop and their customers, as well as some pretty funny scenes, and the film explores some adult themes about the nature of love and relationships, so I would definitely recommend this one even if it might have been better.

"Venus Beauty Institute" tells of 40+ Angele (Baye), who prefers one night stands or "flings", as she calls them, to normal heterosexual relationships and love, and her lack of success with men. In addition to never being given a reason to care about Angele one way or the other, the audience will find much of this film dedicated to superfluous girl talk about the this and that of their lives and vocations. Inconclusive and muddled, "VBI" has little to offer save some fine performances which seems wasted on a trite and useless story.

In Paris, Angèle (Nathalie Baye) is a beautician working in the beauty parlor 'Venus Beauty Institute', owned by Natalie (Bulle Ogier). Her colleagues are Samantha (Mathilde Seigner) and Marie (Audrey Tautou) and they have a good relationship in the salon. Angèle has an emotional problem with men and she does not believe in love anymore. Her affairs happen by chance with strangers and she seems to have the gift of choosing wrong guys for one night stand. Angèle meets Antoine (Samuel Le Bihan), a sculptor who has a crush with her, but the bitter and heartbroken Angèle has problems to believe on his love. I liked this romance about a heartbroken middle age woman finding love again. First, because of the great performance of the beautiful Nathalie Baye, who was fifty-one years old in 1999. The gorgeous Audrey 'Amélie Poulain' Tautou and Mathilde Seigner are collyrium for the eyes of the male viewers, being another attraction. The story has some ups and downs, with some shallow situations, like the exhibitionist client who walks naked in the beauty shop, but the balance is very positive. The story ends like a fairy tale and is enjoyable. My vote is seven.

Title (Brazil): 'Instituto de Beleza Venus' ('Venus Beauty Institute')

Angèle works in a Paris beauty salon with the ingénue-like Marie and cynical Samantha. Their boss is the supportive but businesslike Nadine (an extremely funny and perceptive performance by Ogier, one of Buñuel's bourgeois in Le Charme Discret… and the dominatrix of Schroeder's Maîtresse) who has years of experience in broken hearts and knows how to keep a professional distance. The film charts Angèle's own progress from embittered divorcée to feeling human being through her pursuit by the love-smitten sculptor, Antoine.

We first see Angèle chatting up a total stranger in a railway buffet. This is what she does. She picks up men for casual sex because her faith in the possibility of love left her when her marriage failed (actually she shot her husband, though not fatally). It is ironic, therefore, that a strikingly similar crime of passion causes a turnaround, but… enough said for now.

What delights most of all in this film is Nathalie Baye's performance. Having had to make do for much of her career with Adjani-type roles such as those in Le Retour de Martin Guerre or La Balance, she has matured to the point where at last she is being offered more interesting work. She invests Angèle with the vulnerability that we have glimpsed in the past, but which carries before it a prickly resilience necessary for survival.

Another great pleasure is the portrait of the beauty salon milieu, which lays bare -rather than covers up - human foibles with typical Gallic frankness. This is not the ersatz world of Cher in Mermaids, nor does it adopt the feminist critique that beauty products are emblems of women's self-enslavement to men. Instead it allows both humour and melancholy to let individual cases speak for themselves. The salon is a self-contained world, with its naggingly distinctive door jingle, where different solutions to the single woman's predicament are offered by employee and customer alike. Nadine tells Angèle: 'When you're not a girl any more, you'd better decide not to be a girl any more.' Samantha is promiscuous but, unlike Angèle, allows her disappointments to affect her professional life, which brings her into conflict with Nadine. But significantly when she tells Nadine where to go, while we may sympathise more with Samantha, Nadine is not made to look petty by comparison (it is possible to imagine how an American film would handle this scene very differently). Marie has a liaison with an injured pilot (Sixties matinée idol Robert Hossein) many years her senior, something Angèle finds it hard to understand until she is turned on by witnessing their nocturnal tryst. Meanwhile Angèle's provincial aunts (Micheline Presle, the director's mother and star of Boule de Suif and Le Diable au Corps, and Emmanuelle Riva, most famously of Resnais's Hiroshima Mon Amour - both too briefly glimpsed here) co-exist in a domestic routine which is comparatively idyllic but envy Angèle's independence and ability to live it up in the big city. No one is happy.

Clearly the sculptor, with his undemanding love, is the key for Angèle (and many another single female, no doubt!) but just how the film makes the transition from her morose rebuttals to melting acceptance is one aspect in which you may feel it betrays its Mike Leigh-style realism by opting for an ending which is too whimsical. We hope this does not spoil the many other qualities of Marshall's film.

By the same director: If you enjoy Vénus Beauté you would certainly like Tonie Marshall's earlier feature, Pas très catholique.