Fauteuils d'orchestre

My family and I love this movie Daniele Thomson and her son Christopher wrote a wonderful story and put it under the Paris sky and wonderful sites of the city, each person in this movie has a some thing that we can relate with, the comedy part is fowlowed by heart felt sentiments. The acting is superb ,the Effel Tower with the flashing lights is so romantic,the young girl is so believable and will probably be a great star.I had the priveledge to stay at the hotel across the theater and was so glad to see it in that movie ,I also went to the restaurant next door and talked to the real waiter Marcel, this movie has no violence and can be seen by the all family. I felt like I was back in Paris ,I will get the DVD and watch it every time I am lonesome for that wonderful city, it was a delight Chistopher Thompson also a good actor and writer.

I loved this movie! It is light and frothy, sure, but much more absorbing and entertaining than most of these intersecting lives type offerings. It is a slightly preposterous scenario, sure, but as the NZ Herald review said "The film is studded with smart, unshowy performances [...] that make the story's contrived nature virtually unnoticeable". The script doesn't miss a beat and the characters are all immensely appealing, some portrayed with a level of depth you wouldn't expect for the plot. It is funny too. I really think it raises the bar for this genre. Plus who can't fall for all the gorgeous shots of Paris? 100% enjoyment.

This is today's French commercial cinema by the numbers: gamin plucky young woman character, check. Over the top if beautiful actress, check. Aging, wise woman, check. Well- preserved dotty grandmother in pearls and Hermes scarf, check. Anguished artist with long- suffering wife, check. Sexy young male actor as counterpoint to gamin plucky young actress, check. Lots of shots of Paris with accordion music, check. Recognizable foreign actor in cameo role, check. Gerard Depardieu -- oops, he missed out on this one. Fire his agent!

All that cynicism aside, this is still an enjoyable, frothy film. It is not quite as imaginative as Amelie, but it is better than much of the French cinema that is being churned out these days. The three plot lines are skillfully woven together and the outcome will satisfy all but the most hard-hearted. Now I guess the question will be, who'll play all these characters when the movie is bought by an American studio and rewritten to take place in New York.

There's got to be something in there for Keanu Reeves and Jennifer Garner, non?

As in most of the best French films, not a lot happens and people spend a lot of time talking about their problems but somehow it works. The central character played by Cecile de France is largely a ficelle designed to link together the subplots. Each of these involves an apparently enviable character - someone who's apparently got it made - who isn't as happy as he (or she) should be. The malaises of these rich and glitzy characters turn out to be universal human problems - ageing, family strife, boredom. One of the major themes of the film, beautifully woven through all the subplots, is that we should theorise about life (and art) less and respond to life (and art) in an emotionally direct way. Ergo I shall simply say I enjoyed it, I didn't get a numb behind and I was happier after I came out than when I went in. It's worth the price of admission for the Sidney Pollack restaurant scene alone.

I left the theater smiling. I'd had a really good time in a film that celebrates human diversity and the possibilities for contact between people in a big city. I found the performances really good, particularly Albert Dupontel as the pianist, Sydney Pollack as the American director, Dani as the theater concierge and Claude Brasseur as the aging art collector. Daniele Thompson has made two other films (which I haven't seen) and she must be one of the more talented filmmakers in France today.

The film abounds in wonderful set pieces which serve to reveal the character's qualities. When Catherine Versen meets Sobinski by chance in the restaurant, it's a deliciously comic encounter that shows her insecurity about playing in mediocre TV soaps. There she is, talking to the famous director, and she can't get the names of his films straight.