Populaire

Populaire is the shiny pearl type of movie. Simple enough to be worn regularly and noticeable enough to be more than a touch of color. The typical 50's pastel and soft colors are everywhere in the movie, except when the tone of the story turns less glamour and kitsch to become more intimate. Then the colors turn brighter, sharper and more intense... following the scene moods.

I had no idea about what kind of movie my friends dragged me to but I have to recognize this was a very pleasant surprise. The lead actors (Deborah François and Romain Duris) are carrying the whole movie and it turned way more thrilling that I could expect at first from a type machine competition movie.

There is some sense of Pygmalion and My Fair Lady where love is in the air even though it wasn't the initial purpose. When a young, pretty and innocent girl is coached by her boss, she turns into an accomplished and genuine beautiful Lady.

If you're planning a nice movie sessionflick with your soulmate, without complicated plot or senseless violence and you want to ensure you'll finish smiling at the end, go for Populaire, worths it !!!

My daughter recently saw this film at a festival in Philadelphia and insisted I should see it as well. Fortunately, it's now streaming on Netflix and I got a chance to see it myself today.

The subject matter for this film is incredibly mundane--so mundane and dull that it's a wonder that the film would hold your interest. However, it managed very well. Who would have thought a film about a woman training to be a speed-typing world champion could be so much fun? Plus, while I am not sure about this, I assume there never has been any sort of international speed-typing competition and I KNOW if there had been one, they wouldn't have been celebrities like the folks in this film. However, I kind of liked this, as it was a bit silly and added to the kooky charm of the film.

The movie begins with Rose (Déborah François) leaving her small town and going to the city to get a job as a secretary. However, despite being able to type remarkably fast using the hunt and peck method, she isn't a very good secretary. However, her grouchy boss, Louis (Romain Duris) hires her anyway, as he's VERY impressed by her typing. However, it's soon obvious he's not that interested in her being a secretary and much more interested in training her to be a speed-typing champion. He moves her into his home, cooks for her and coaches her unmercifully--all to make her a champion. However, despite Rose winning competition after competition, Louis never acts happy--and keeps driving her. Rose is adorable and sweet, and yet Louis is almost machine-like in his detachment. What's next? See this strange and quirky film.

The best thing about the film is its design. I love the late 1950s look and unlike some period films, this one tried very, very hard to get the look right. I also loved Rose as a characters. But the film also had problems. Despite liking it very much, Louis' character is too unlikable--and her falling for him (like Liza Doolittle in "My Fair Lady") made no sense. Sure, he's handsome but he's also incredibly selfish and under-emotive. Additionally, the film is pure formula throughout--the only difference are all the nice trappings and nice way the director handled the familiar themes. Overall, a great date movie and a nice rom-com that isn't too demanding. I would like to give the film a 7.5, though IMDb won't allow that. I enjoyed it a lot even with its clichés (such as how Rose's father behaves late in the film).

By the way, I looked it up and there really was a Japy typewriter company in France--it was not created for the film.

Déborah François as the heroin, Rose Pamphyle, looked very cute and fashionable. That's all, but it's enough for me to see this movie for a change. I am guessing that Régis Roinsard, the director of this movie, just wanted to make Déborah look as cute and fashionable as possible in this movie, and he was successful.

Although this movie has many shortcomings that audience can point out, it doesn't matter at all. For example, the plot of this movie is quite stereotyped, but it is better to make audience concentrated in the heroin Déborah.

I love Kabuki, whose plots are usually dubious. The audience of Kabuki mainly wants to be fascinated with the beauty of Kabuki actors, and a deep plot would disturb the entertainment of Kabuki.

Of course, Déborah François herself is very attractive. She shows a variety of expressions, smile, anger, tears, envy, and love, and all of them are charming.

If you thought that she was cute in the trailer, it would be worth seeing this movie.

This is a French romantic comedy, I enjoyed watching it but it also has some problems. The good parts: The best part about the movie is the nice set design and the costumes. It's great to see a movie that is not set in a contemporary US city like most other comedy movies. I liked the female lead actor.

What I didn't like: The two actors don't seem to have real chemistry. Both main leads are supposed to have certain features. She is supposed to be a klutz, he is supposed to appear a bit mean but should be a good man on the inside. This characteristics are used to explain why they act the way they do. Unfortunately the director spends about one and a half minute on these characteristics and that's it.

Following in the footsteps of the Academy Award-winning 'The Artist', 'Populaire' pays loving tribute to the motion pictures from a bygone era. Whereas it was the silent movies of the 1920s in the case of the former, the latter sets its sights on the crowd-pleasing Hollywood comedies of the 1950s and 60s, a fact clearly evident right from its animated opening credits which look like something straight out of a Billy Wilder movie.

Then, movies were much simpler and sweeter, and indeed one should similarly expect the same of 'Populaire'. A classic rom-com that pits the slightly naïve 21-year-old village girl Rose Pamphyle (Deborah Francois) with her dapper city boss Louis (Romain Duris) to whom she is secretary to, it follows a pretty straightforward trajectory built around the world of competitive speed typing, so if you're looking for any surprises in the storytelling, then you're likely to be disappointed.

But what it lacks in novelty, it certainly makes for up in dollops of charm, so much so that we're willing to guarantee that you'll find much truth in its hyperbolic marketing tagline that proclaims it "the most enchanting romantic comedy since Amelie". There is something magical about the fit between actor and character here, a truly entrancing quality about how Francois plays Rose sweet, shy and klutzy and how Duris cuts a suave, dashing and debonair figure in Louis.

Just as, if not more, importantly, is how Rose and Louis make an exceedingly appealing couple, be it in their prickly initial encounters or their subsequent intimate engagements. Francois and Duris share zingy chemistry in their scenes together, the lively manner in which they trade barbs and words of affection bound to keep a smile on your face. Their spirited repartee is also thanks to a witty and engaging script, which pays close and sharp attention to the evolving dynamic between its characters.

Just as well-observed is the sport of competitive speed-typing, which plays a central role in the evolving relationship between Rose and Louis. Rather than give up on the otherwise dreamy and absent-minded Rose, Louis recognises her single uncanny gift of typing very quickly, prompting him to propose an unusual arrangement in which he trains her for competitions in exchange for keeping her job as his secretary. Needless to say, she improves swiftly under his tutelage, progressing from regionals to nationals and finally to internationals, the title of the film a reference to her newfound popularity as well as the name of the typewriter she does a celebrity endorsement for.

We know – you're thinking how a bunch of mostly middle-aged women in thick-rimmed glasses hammering away at ancient typewriters can be anything exciting. Well, that's where you are absolutely wrong. There is pure thrill to be had in each one of these competitions, the combined effect of whirling dolly shots and some sharp editing combining to inject much excitement into the repetition of pounding keystrokes and slamming carriages. Never for once failing to amaze with the intensity and concentration required of participants in such competitions, it suitably jazzes up what one would assume a sedate activity, let alone a sport.

The staging of these contests is but one illustration of how impressive the mise-en-scene of the movie, which is even more amazing for the fact that this is also director Regis Roinsard's feature filmmaking debut. Roinsard, who also co-wrote the script with Daniel Presley and Romain Compingt, combines detailed set and costume design by Sylvie Olive and Charlotte David with a classy score by Rob and Emmanuel d'Orlando and classic French oldies from the likes of Jacqueline Boyer, Jack Ary and Les Chausettes Noires, the effect of all these various elements making for a remarkably rich and authentic period portrait.

Especially as modern-day films revel in greater shades of grey, it is refreshing to see a movie whose pleasures are so elemental and yet deeply enjoyable. "Populaire" harks back to the days of the Doris Day rom-coms – even as it also pays homage to other classic films of the same era, most notably Alfred Hitchcock's "Vertigo" – offering a delightfully buoyant time brimming with wit, humour and passion. Excuse the pun – if you're looking for a movie to lift your spirits, this one strikes all the right keys.