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Reviews
L'ami de mon amie (1987)
Good movie, but Emmanuelle Chaulet can't act for toffee
This is an entertaining Rohmer movie, with some good ideas and interesting dialogue. However I couldn't believe how bad the actress in the lead role was. It even beats Arielle Dombasle's laughable performance in "Pauline à la plage". In "L'ami de mon amie", it's as if Emmanuelle Chaulet herself is clueless about the character, throughout the movie. Her name in the movie is Blanche, as in "oie blanche" in French, which means a girl or young woman with a prudish upbringing who is candid and a bit foolish.
Unfortunately, in all her scenes Emmanuelle Chaulet is fidgetting, wincing, twiddling her hair or shaking her head any moment, and for no reason. She has no sense of timing or delivery, her body language is either inappropriate, or over the top. In one scene at the café, she can't even utter one, simple line such as "les affaires cult...culturelles" (her job department), without stuttering. Then she giggles like a schoolgirl, when she's supposed to be a serious, grown civil servant. She can't even kiss a (good-looking) partner: her intimate scene in the woods with Éric Viellard is cringe worthy. Utter amateurism. I don't know what went through Rohmer's head, maybe he was having a laugh, maybe he didn't have a choice. Anyway it's no wonder why her career as an actress failed to take off after that. She didn't even have the appeal of prior Rohmer heroines such as those played by Haydée Politoff, Françoise Fabian or Amanda Langlet, for instance. By contrast with her, Sophie Renoir (Léa), Eric Viellard (Fabien) and F-E Gendron (Alexandre) raise the level by giving a much more watchable and relaxed performance.
I like Rohmer's playing with color symmetry and permutation in the actors' outfits, like the blue top/white skirt matching Léa's white top/blue skirt at the evening party, to emphasise the contrasting traits and moods of the characters. The conclusion, a sensible outcome, is satisfying both for the characters and the viewer.
Le portrait de Dorian Gray (1977)
Lights and shadows of the soul
Director Pierre Boutron had been bold enough to adapt Oscar Wilde's philosophical and fantastical novel for the theatre, before turning his play into a theatrical movie, both successfully.
First of all, the director managed to bring to life a very dense text while remaining faithful to the content and spirit of the book, and restore both the psychological richness and the satirical charge against Victorian England of the original work.
The staging is also done in a creative and clever way with the use of stage depth, the different frames, candles, mirrors and multiple reflections.
A special distinction goes to Patrice Alexsandre here, who excels in the difficult role of a character as ambivalent as Dorian Gray (or grey, as opposed to black & white). The actor himself seems to have come straight out of that era, with his natural elegance and distinction, his slender figure, the disenchantment in his gaze. Although he is the witness of the decay that is destroying his soul, he nevertheless shows a gradual, spiritual maturity that will eventually distinguish him from Lord Henry, who only ages badly, stubbornly rejecting any life lesson, right up to the end.
Raymond Gerôme's brilliant performance really brings out a convincing historical and social dimension to the character of Lord Henry.
Also remarkable is the key outdoor scene of the final encounter between Basil and Dorian, almost like a duel, and also like a struggle within themselves. The chilling atmosphere and dialogue, alternating from up and down the staircase, foreshadow the tragic, inescapable downfall of the two characters. Like the shadows and lights between each street lamp in the alleyway that leads to Dorian's house, as well as the flickering candles on the set, the painter, still under the influence of his model, stumbles and staggers before the ultimate, tragic revelation.
The lovers of aphorisms, witticisms and paradoxes will appreciate this theatrical, intimate and timeless version of Wilde's work.
Nicky Larson et le parfum de Cupidon (2018)
Successful adaptation
Really enjoyed this movie and would watch it again on DVD/BluRay. I was quite impressed with the quality of the action scenes (for a French comedy). Looks like the director enjoyed making this movie, which shows care, attention to detail as well as faithfulness to the original anime City Hunter. I remember reading that creator Tsukasa Hojo himself enjoyed the screenplay for Lacheau's film, therefore giving the project 'added value' (particularly for the fans of the series who might have had doubts about this adaptation). The balance gags/action/storytelling is good, the casting works well too. A good job overall, considering that mangas/animes are particularly tricky to develop into convincing live-action movies. Now hoping for a sequel!
Un couteau dans le coeur (2018)
Cringe factor high
Trying (too hard) to ride on the LGBT movie trend, as well as misusing reference films such as 'Cruising' (by W.Friedkin), this item is definitely more like an appalling, tedious experimental piece of garbage than a first-rate movie.
Grotesque, swept-under-the-carpet scenario, overplayed excrutiating dialogues, and painful, cheap synth score for soundtrack...not to mention Vanessa Paradis' cartoonesque performance that does her character no favor, squeaking in a voice reminiscent of Mickey Mouse and Tweety Pie.
Beware, the main danger in the story is not the knife itself (the 'couteau'), but utter boredom, if you've managed to stay until the end.