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Film: Little White Lies
Release date: 15th April 2011
Certificate: TBC
Running time: 154 mins
Director: Guillaume Canet
Starring: Marion Cotillard, François Cluzet, Benoit Magimel, Gilles Lellouche, Laurent Lafitte
Genre: Comedy/Drama
Studio: Lionsgate
Format: Cinema
Country: France
In 2006, Guillaume Canet took the world by storm with his astoundingly successful thriller Tell No One. This sophomore film by the young director introduced not only himself but modern French cinema to a much wider audience. As such the film’s popularity (both critically and financially) led many critics to predict a ‘new wave’ of the French Nouvelle Vague to resurge upon our shores – which to an extent it did with films such as, Diving Bell & the Butterfly, Mesrine and I’ve Loved You So Long all faring relatively well. Canet’s much anticipated follow up, Little White Lies was the second highest grossing film in France last year (only just behind Harry Potter And The Deathly Hallows). Yet with its tremendously inward looking and nationalistic blend of comedy and drama, will this charming expose of the laboured friendship of eight wealthy friends resonate with the same widespread success over here or remain one strictly for British Francophiles?
We join these carefree socialites just days before departing on one of their ritual summer vacations. But when a sudden horrific traffic accident lands one of their party in intensive care (Ludo) they find their plans have to be reassessed. As he fights for his life, his friends have a seemingly difficult decision to make. Do they stay and watch over their seriously ill friend, or instead leave him, and go ahead with their original plans anyway? They soon convince themselves that by cutting short their break by a couple of weeks, they’ll be able to get the much needed rest they feel they deserve, whilst being back in time to tend to Ludo once he regains consciousness. It’s a choice that many would frown upon, and as events unfold, it would appear they’d be correct. This decision soon becomes a classic example of ‘an elephant in the room’ as it slowly starts to over-shadow any enjoyment that is to be had, gradually illuminating the Little White Lies that threaten to tear apart the fragile fibres holding the group together.
The holiday is funded by Max (Francois Cluzet), something of an older brother figure to the group, who allows his younger acquaintances to gallivant around his opulent beach house, eat from his bountiful fridge, and take trips into town on his lavish power boat. It all sounds rather generous, until you realise he seizes any opportunity to make this fact abundantly clear to the eternal teenagers he chooses to mingle with. It’s at these strikingly charmless moments that we begin to realise that this high strung restaurant owner is purely obsessed with material wealth, and masks his egotistical desire to be respected with hand-outs and charity.
Also amongst this selection of the crème-de-la-crème of French acting talent we have Marie (played by recent Hollywood leading lady, and Guillaume Canet’s wife, Marion Cotillard), a pot smoking, heavy drinking, self-proclaimed ethnologist, whose penchant to study others is no more than an attempt to prevent studying herself. She’s a perfect example of the emotional damage which can be caused by continually putting off tomorrow.
Next there’s Eric (Gilles Lellouche), a failing actor who softens the crippling effects of his faltering career by pursuing a life of infidelity. Yet, when his girlfriend breaks up with him after her attempts to garnish a little more commitment from him fail, he struggles to truly convey his heartbreak, instead hiding behind the same persona he has created to mask his other numerous shortcomings...
What unravels is a thoughtful, unashamedly sentimental and genuine film about friendships and family ties. This seemingly cluttered cast, at first, look like nothing more than superficial, pretentious clichés of the modern French bourgeoisie society. An example of those who have disregarded their traditional family values in favour of a lifestyle fuelled solely by desires of the flesh and an apparent need to escape the hardships of life through a state of constant inebriation. Yet, somehow, despite the apparent detached moods of each character, director Guillaume Canet manages to shine a light on the inner beauty inside all of them. This is achieved through a subtle use of elegantly framed and perfectly timed close ups, combined with some incredibly evocative and sincere dialogue.
The pivotal and shrewd role of Jean-Louis (the oyster farmer) should also not be forgotten. He is more than just a periphery character, but instead an important voice of reason and statue of moral purity with which to both judge, and then lead the group to redemption. He is our window into this world of opulence, like an ambassador for many of us viewing who fail to feel sorry for these spoilt, immature and quite abhorrently melodramatic characters. It’s partly down to the inclusion of this divisive role that makes Canet sprawling character drama a successful searching piece of film, which, regardless of class or age, takes you on a journey to the extremes of human emotions.
There’s an obvious nod towards films such as The Big Chill, Mes Meilleurs Copains and Un Elephant ca Tromp Enormement, but Canet openly admits these sources of inspiration, and has stated that he was always attempting to make a “friends movie.” His achievement in creating some of the most magnificently realistic looking friendships to ever grace the big screen is worthy of the highest praise. Apparently this feat was produced by insisting that all cast members spend two weeks prior to filming at the cabin the film was to be shot. He wanted them to learn each other’s mannerisms, as well as seemingly minute details, like where the knives and forks were kept. It clearly works, and at no point should you ever feel like you’re watching actors ‘pretending’ to get along. It’s this natural feeling atmosphere which ensures that the emotive traps set throughout the course of the film are truly effective.
With a runtime of 154 minutes, Little White Lies is perhaps guilty of being a little too self-indulgent. Some of the scenes are strung out far too long, giving the impression that the cast were having far too much fun filming to take into consideration the dwindling attention span of the audience. However, a film with such an extensive list of high profile stars was always going to be accused of either being too long, or guilty of under developing characters. The closing third, unfortunately, does suffer mildly because of this, and as tempers begin to flare and lessons start to be learnt, the impact is slightly diluted - Canet’s lofty ambition to tie up the high volume of loose ends results in an ever so slightly clumsy, and toothless final act.
As with his previous directorial work, Canet also still seems determined to show off his expansive record collection, through a heavy-handed use of non-diegetic sound. It’s used in an attempt to help amplify the feeling of certain scenes, and evoke a stronger emotional reaction than perhaps he feels comfortable achieving through simple dialogue and framing alone. It’s a negative viewpoint that’s incredibly subjective. Depending on your musical tastes, it’ll either come across as ingenious or momentarily cringe worthy. Yet a film built on a strong foundation of meticulous character development, viscerally beautiful cinematography and such rich ideas, as are present here, shouldn’t need such un-subtle devices to enhance the mood of key moments.
Like a modern day sitcom, but without the furious pace and mainstream sensibilities, Little White Lies may lack the thrill a minute, breakneck action of Tell No One, but is certainly no worse a film for it. What could have been a cluttered, pompous mess of a drama is instead an accomplished and immersive (if perhaps overly long) subtle blend of genuinely, laugh out loud comedy and effectively moving tragedy. Little White Lies will ultimately leave you feeling emotionally exhausted by the end - regardless of whether you’re an auteur of French cinema or not. PG
Walking the fine line between laughter and tears Canet directs some of France’s most skilful performers to deliver startlingly intimate performances. As we learn of each character’s flaws we also understand the bond between the friends, and recognise ourselves in them.
Every year Max (François Cluzet), a successful restaurant owner, invites his family and friends to his beautiful beach house. This year, before they leave Paris, one of the group (Jean Dujardin) is seriously hurt in a traumatic accident. The friends decide to go ahead with their holiday, but the accident sets off a dramatic chain of reactions and emotional responses.
The eagerly anticipated vacation leads each of the protagonists in turn to raise the veil that for years has covered their true feelings. Their relationships, convictions and friendships are sorely tested when finally forced to own up to the little white lies they have been telling each other.
Film: Little White Lies
Release date: 15th April 2011
Certificate: TBC
Running time: 154 mins
Director: Guillaume Canet
Starring: Marion Cotillard, François Cluzet, Benoit Magimel, Gilles Lellouche, Laurent Lafitte
Genre: Comedy/Drama
Studio: Lionsgate
Format: Cinema
Country: France
Film: Love Me If You Dare
Release date: 29th May 2008
Certificate: 15
Running time: 94 mins
Director: Yann Samuell
Starring: Guillaume Canet, Marion Cotillard, Thibault Verhaeghe, Joséphine Lebas-Joly, Emmanuelle Grönvold
Genre: Comedy/Drama/Romance
Studio: 20th Century Fox
Format: DVD
Country: France/Belgium
The directorial debut of French screen writer Yann Samuel that famously bought together two of France’s biggest screen stars of today, Love Me If You Dare could’ve set sail towards the dangerous territory of tabloid fodder. However, with its bold originality and somewhat brutal heart, the film is worlds away from being just another love story.
Boisterous yet imaginative Julien is unable to cope with his mother’s terminal illness, whilst distraught outsider Sophie can’t cope with endless taunts about her heritage. As children on the school bus tease Sophie and throw her books in the street, Julien offers her a small tin box shaped like a carousel.
A prized possession gifted to him by his mother, Julien regrets his moment of kindness, and asks if Sophie will return it soon. Sophie is heartbroken, and demands Julien to prove how much he wants the carousel with a goading dare.
With the absent bus driver picking up Sophie’s tattered books, Julien seizes the moment and takes the break off the bus causing it – along with the school bullies aboard – to roll down the hill. Thus begins the game that will alter their lives.
With only Sophie and Julien playing their game of dares, the world is their oyster. Like a child of divorced parents, the custody of the box alternates between the pair after one dare is completed. What begins as playful and childish – swearing at teachers, urinating in front of the principle – soon metamorphoses in to acts of humiliation and hurt as they mature. As their love for one another increases alongside their escalating dares, the distinction between the game and real life is blurred. Who will dare to quit the game - and will they dare to admit their true feelings…
Love Me If You Dare is the type of romantic comedy that is rare in mainstream cinema because it has dark elements surrounding it.
The main characters are not the typical blonde-haired blue-eyed boy/girl that hail from dynastical families of great wealth, and neither are they churning out fluffy dialogue, with the occasional “I love you” thrown in for good measure. Both Sophie and Julien are unlikable characters that commit horrible acts, yet, as an audience, we invest so much emotionally into their story because we’ve seen just how far they are willing to go for one another.
As children they retreat into a world of fantasy where life is just a game, but when it is time to grow up and face life, it is our narrator Julien that finds this impossible to accept. For Sophie, he is willing to fulfil any dare she desires him to do and vice versa. However, the toughest dare of all is for Sophie and Julien to love one another.
Yann Samuel has crafted such an array of complex characters that even supporting roles - notably Julien’s father, played by Gerard Watkins, whose portrayal of a man losing wife and dealing with single fatherhood is heartbreaking and infuriating to watch – could have propelled the script to being a potential ensemble piece similarly to Jean-Pierre Jeunet’s Amelie.
Much has been said about the film’s comparisons with Amelie (there’s even a shared Facebook page for fans of both films). On the surface, it is easy to see why critics are so quick to make this assumption. Both films have strong aesthetic tastes, predominantly towards a colour scheme of green and red, that have inspired American television to adapt a similar strong chrome style (Pushing Daisies and, to a certain extent, Ugly Betty). Even Love Me If You Dare’s narrator as a child adopts a penchant for listing his likes and dislikes a la Amelie, possibly as homage.
Unlike Amelie, Love Me If You Dare showcases the cruelty and complexities of love. What began as all fun and games is now target practise to see who can hurt the other most. The painful fragility masked with a bitter nonchalance experienced by Sophie and Julien is exquisitely illustrated by Marion Cotillard and Guillame Canet. Like a silent film actress, Cotillard uses her eyes to reveal the soul of Sophie in contrast to the arrogant swagger that Canet affects to reveal Julien as a boy pretending to be a man.
Set to a soundtrack consisting of a single song, one would think it would become irritating after a while. However, when the song in question is ‘La Vie En Rose’, the result is nothing short of magical. Using versions by artists such as Donna Summer, Louis Armstrong and French chanteuse Edith Piaf (ironically, Cotillard went on to win an Oscar for portraying the singer), the soundtrack becomes a melting pot of varying cultures and eras united by the theme of love.
In a sense, Julien and Sophie’s game of dares was once La Vie En Rose, translated as life through rose coloured glasses. This is particularly poignant during the film’s alternating endings that let the audience decide the central character’s fates. Whilst this tool is becoming popular throughout modern cinema to satisfy all audience’s tastes, Samuel strongly suggests with the opening shots of the film which ending he would most like viewers to walk away with.
Viewers expecting a ‘boy meets girl and they fall happily in love’ scenario will be disappointed but shouldn’t shy away from viewing Love Me If You Dare. Its quirky take on childhood sweethearts and forbidden love laced with black humour is a refreshing departure from the hoards of formulaic romantic comedies that have graced the box office. SRI
Film: Love Me If You Dare
Release date: 29th May 2008
Certificate: 15
Running time: 93 mins
Director: Yann Samuell
Starring: Guillaume Canet, Marion Cotillard, Élodie Navarre, Thibault Verhaeghe, Joséphine Lebas-Joly
Genre: Comedy/Drama/Romance
Studio: 20th Century Fox
Format: DVD
Country: France/Belgium
One of Marion Cotillard’s stunning earlier performances, Love Me If You Dare is a fantastically witty romantic drama; a love story which spans from childhood into adult life. With its playful yet ultimately dark content, it became a sleeper hit in Europe, and helped push Cottillard into the limelight as one of France’s most promising talents.
Love Me If You Dare tells the tale of two children: a boy, Julien, from a middle class Belgian family, and a girl, Sophie, from a poorer, Polish background. They become friends when Sophie, the object of much bullying at school stemming from her family’s status, is pushed around by other children at the bus stop. Julien realises that he should be kind to her, and so shares a decorated tin box with her, a gift from his fatally ill mother, but asks that she give it back from time to time. Angered by his quick change of heart, she insists that he must prove to her that he wants it, and without hesitating, Julien takes the hand-break off the stationary bus and their game of dares begins.
Throughout their childhood, they play this game, challenging each other to win the box back, and it continues well into their teens. But their relationship becomes more troubled as they grow older - they can no longer tell when the other is being serious and feelings start to get hurt. Reminiscent of When Harry Met Sally, it seems to imply that a man and woman can’t be best friends without romantic feelings developing. However, without knowing when to draw the line, the two have a bitter argument and stop being friends. Although they move on, and in attempts to hurt each other marry other people, neither of them forgets the other or the thrills of their games that nothing else in their lives can live up to.
Around twenty years on from when they met, the two come back round to play one final game of dares…
The film follows their shared childhood closely, with a fuzzy, dream-like hue to the proceedings reflecting their perceptions of the world. Particularly the zooming camera work, a kind of photogrammetry, when we are linked with Julien’s point of view and his obsession with wanting to believe humans can fly. Scenes jump around as does their concentration, but it comes across as more charming than confusing. There are many amusing fantasy sequences, including a fantastic interpretation of the Garden of Eden, with their teacher as the tempting snake and their principal playing God. To punish them, he not only curses Sophie with the pain of childbirth but with the pain of dieting, high heels, face lifts and cooking. Whereas Julien, he punishes with Godzilla, the A-Bomb and Hitler.
As the narrative moves out of their childhood, things stop looking so rosy, and start becoming more realistic in appearance. Their games progress from silly to cruel, and the visual representation of this shift is clear and extremely effective. The hallucinatory and fantasy sequences become less frequent, and the visual style seems to grow up as they do. As their dares become more dangerous and bitter, a harsher view of the world is needed. This progression is key to what makes this film so enjoyable to watch - you are completely absorbed into the world as they experience it.
‘La Vie En Rose’ is a musical motif throughout the film, with different versions being played other than the original by Edith Piaf, including Louis Armstrong, Donna Summer and French pop artist Zazie. Marion Cotillard seems to be inextricably linked with Piaf, as she went on to win an Oscar for her portrayal of her in La Vie En Rose. The song punctuates throughout the narrative, always memorable. There is some decretive piano during the more romantic/heart-wrenching scenes, but it doesn’t standout so much as just add a little something to the mood.
Cotillard and Canet couldn’t be more suited to the characters they play, and they perform wonderfully together. Their acting is genuine and acute, with such fantastic chemistry, it’s no wonder the two have been dating since working together, and she is currently expecting her first child by him. They manage to pull off the complexities of the character’s childish attitudes to reveal their tender feelings for one another underneath, which save the characters from appearing completely obnoxious and self centred.
The two leads are enchanting, and the storyline is great fun with a little black comedy mixed in. Approach it with the right attitude and you will be richly awarded.
Film: Taxi
Release date: 14th October 2002
Certificate: 15
Running time: 86 mins
Director: Gérard Pirès
Starring: Samy Naceri, Frédéric Diefenthal, Marion Cotillard, Manuela Gourary, Emma Sjöberg
Genre: Action/Comedy/Crime
Studio: Prism Leisure
Format: DVD
Country: France
As the ‘80s passed us by and the ‘90s emerged, we entered a new age in cinema. The postmodern slowly developed into the post-postmodern, an age of remakes and intertextuality. The old adage that, “Anything that can be invented, has already been invented” now seems to have been accepted as an unwritten rule of cinema. Taxi is a perfect example of intertextual postmodern film, and was written and produced by one of the finest exponents of the art: Luc Besson.
Daniel is a taxi driver who drives a super-taxi at the highest speeds possible. He drives so fast, in fact, that his car is a blur when captured on any speed cameras. One day he is caught by Emilien, a very unlucky policeman, and Daniel is faced with having his license taken away.
The Mercedes Gang, from Germany, are so good at robbing banks that they always announce where and when they plan to strike next. So far the gang have eluded capture and now they are targeting Marseilles. Desperate for a lucky break, Emilien offers Daniel a chance to keep his taxi license. Daniel, who despises the police, reluctantly agrees to help Emilien catch the Mercedes Gang…
This crime/comedy was an instant classic upon its release in 1997 and has since been remade by Hollywood, with Queen Latifa taking over the lead role. However, Taxi takes more from Hollywood than it does from its apparent French influences and perspectives.
On the surface, Taxi presents the viewer with a distinct homage to Hollywood crime movies. In fact, the music in the opening titles is the song Mirsolu from Pulp Fiction (the rest of the soundtrack is mostly French hip-hop). Mirsolu has become so iconic that it tells the audience exactly what to expect from the rest of the film. There are also numerous references to Tarantino and other big budget crime movies throughout Taxi, such as the Reservoir Dogs style bank robbery scenes, and the ending, which is visually reminiscent of Heat.
However, this relationship with Hollywood goes even deeper than its face value. When watching Taxi there is a strong sense of hyper-masculinity, which triggers memories of Alain Delon and French crime thrillers of the ‘50s and ‘60s, such as Le Samourai, Borsalino and A Bout de Souffle. Daniel is not just a taxi driver; he is the greatest driver alive. The Mercedes Gang are not simply bank robbers; they are super bank robbers. Even the cars they drive are fantastical and encased in their own folklore. It is also worth noting that the quintessentially French city of Marseilles is the typical setting of any French heist movie or gangster film.
The most striking aspect of this movie is the way the stunts and driving scenes are shot. Many of the action sequences act as set pieces to the plot, driving (no pun intended) it forward to the spectacular finale. The story begins with Daniel being ‘saluted’ by a troop of pizza delivery bikes, who put on an impressive display of tricks and stunts. This is then taken to new heights when Daniel unleashes his modified taxi. The way in which the cars are shot makes them look incredibly fast, but without any CGI glossiness. The cinematography and soundtrack build upon the visual style to further enhance the ever present coolness to great effect.
Despite the driving and stunts being central to the plot, these set pieces are interspersed with cleverly constructed comedy, which is best enjoyed with subtitles, as jokes sound very corny in the London gangster-style dubbing. Many of the characters come across as being caricatures of themselves, particularly when coupled with their exaggerated hyper-masculine abilities and traits. Daniel is a cool, suave diamond in the rough. Emilien is the accident prone, pathetic nice guy who brings the bulk of the comic relief.
This odd combination of prodigy and spoof adds further charm and complexity to the double act without infringing on either the action or the humour. There is also the sense that Daniel is the hero and Emelien is a sidekick who is there to bring credibility to Daniel’s prowess, as with most action films. So, the duo act as both a Laurel And Hardy-style comedy act and the Leathal Weapon-style buddy team.
Luc Besson supposedly wrote the script for Taxi in just thirty days, which is particularly impressive given the film’s success and popularity. The acting is capably portrayed, with Samy Naceri playing a laid-back, yet smooth lead, indicative of a modern Jean-Paul Belmondo in A Bout de Souffle crossed with a French version of Sean Connery’s Bond (complete with a gadget packed Peugeot!).
Taxi has much to offer the discerning viewer with its unique mix of action and comedy. It embroiders a textured intertextual tapestry and, at the same time, carves its own niche far beyond these roots. It’s easy to see how this endearing film has spawned a further three sequels and a US remake in little over a decade. DOB
Film: La Vie En Rose
Release date: 13th October 2008
Certificate: 12
Running time: 135 mins
Director: Olivier Dahan
Starring: Marion Cotillard, Sylvie Testud, Pascal Greggory, Emmanuelle Seigner, Jean-Paul Rouve
Genre: Biography/Drama
Studio: Icon
Format: DVD
Country: France/UK/Czech Republic
A film that earned foreign cinema its first (eagerly awaited) Oscar win for a performance since Sophia Loren in La Ciociara (1961), La Vie En Rose has always been something of a talking point amongst fans of French cinema. A difficult subject to tackle, and one that is close to France’s hearts.
A rags-to-riches biopic about the turbulent life of Edith Piaf (Marion Cotillard), the film possesses a non-linear narrative in which we, the audience, experience Piaf’s life through her memories. The majority of these are primarily focused upon her lonely childhood (young Edith played by Pauline Burlet), in which she is abandoned by her busking mother and her soldier-turned-acrobat father who leaves the young girl in the care of his mother - she just so happens to own a brothel.
Whilst this isn’t the perfect place to raise a child, Edith is adopted by the courtesans, particularly Titine (Emmanuelle Seigner), who dotes upon her as if they really were mother and child. However, at possibly the most stable time of her life, Edith and her new extended family are torn apart in one of the most heart wrenching scenes of the film.
Now helping her father within the exciting atmosphere of the circus, Edith’s life is altered further as the pair are left homeless. A blessing in disguise, this is the vital catalyst of the film in which a young Edith soon realises the power of her voice.
Years later, at the age of 18, and accompanied by new friend, Simone, Piaf is still singing in the streets for money, leading to a chance encounter with club owner Louis Leplee that alters the course of her life forever…
Dahan’s film is layered with subtle parallels throughout, as Edith grows into someone eerily similar to the people who have abandoned her on more than one occasion. The fact that her parents are both themselves performers (or “artistes,” as her mother prefers to be called) only increases the comparisons further. When Edith finally gains the professional success she craves, we’re left to wonder whether her personality will evolve positively or descend within the egotism so often portrayed in celebrity biopics. In a way, her success is her own brand of revenge against those who have wronged her as well; a sort of karma.
Edith, at heart, is a good person but Dahan is just as revealing about Piaf’s flaws as he is her triumphs. Marion Cotillard’s acting is simply flawless throughout, with her Academy Award win being well-earned and deserved, whilst the supporting cast of Sylvie Testud as Simone and Emmanuelle Seigner playing Titine form the strong pillars alongside the lead role.
With the soundtrack consisting of Piaf’s own original recordings (with only a couple of minor exceptions to portray the singer’s frailty), the film is sure to please die-hard fans as well as gaining fresh ears in the process. With so many biographical films predominantly targeting clued-in listeners, it is refreshing to see that Dahan hasn’t neglected to remember that mainstream audiences outside of France may not have directly heard of Piaf herself, but will no doubt know her most famous hit, ‘Non, Je Ne Regrette Rien’ (‘No Regrets’).
Whilst La Vie En Rose is largely a positive viewing experience, the moving back and fourth between time periods can make the film, at times, hard to follow, with the scenes concerning Piaf’s daughter seemingly cut and pasted in by the director towards the end.
It becomes impossible to fathom that one person has lived through and experienced such hardship and troubles – had this been pure fiction, it would have seemed hyperbolic and unbelievable. The very fact that Piaf’s life, and the woman herself was so mercurial makes the film even more inspiring, considering the obstacles she overcame and her ever present love of life until the end. Edith Piaf was truly a woman who had no regrets.
Abandonment, poverty, stardom and romance are explored alongside loss and loneliness throughout as the film is littered with moments of poignancy, sadness and joy that will have you laughing one moment and reaching for the tissues the next. With its stunning soundtrack and strong cast, La Vie En Rose is a film that should and will never go by unnoticed. SRI
