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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: Tell No One
Release date: 15th October 2007
Certificate: 15
Running time: 126 mins
Director: Guillaume Canet
Starring: Marie-Josee Croze, Nathalie Baye, Andre Dussollier, Jean Rochefort, Kristin Scott Thomas
Genre: Crime/Drama/Mystery/Thriller
Studio: Revolver
Format: DVD
Country: France
A sensation in its native France, Tell No One went on to capture a lot of attention around the continent. Based on the novel by American writer Harlan Cobern, this really is the rarest thing: a French film of American origin. Guillaume Canet directs and scribes a mystery that promises enough twists and turns to leave you dizzy. Nothing is what it seems.
Lifelong sweethearts Alexandre and Margot Beck take a midnight skinny dip at their favourite childhood lake. Sat in the moon light on a duck in the middle of the lake, they begin to squabble, and Margot swims back to land alone. Still in the lake, Alexandre hears Margot’s screams in the distance, and desperately swims back to her rescue. However, back on land, Margot is nowhere to be seen, and Alexandre is knocked unconscious.
The narrative picks up eight years later, with Alex still coming to terms with the murder of his wife. Himself a former suspect in the case, he works as a paediatrician haunted by his loss at the hands of a serial killer. He goes through the motions of his tender life until he begins to receive cryptic e-mails that suggest Margot is very much alive.
Alexandre goes in search of the truth - he is determined to expose an ominous cover-up, and desperate to once again see the face of his beloved Margot. Along the way, he encounters new allies, possible infidelities, and one of the most gripping chase scenes in modern cinema. He is wanted by police and criminals alike, but he will do whatever it takes...
The American feel of this movie goes deeper than just its source material, and young director Guillaume Canet’s Hollywood influences are clear. French audiences clearly found this reverse globalisation refreshing as the film swept the Cesar awards in 2006; however, Tell No One holds both the good and the bad of Hollywood.
The good comes in the shape of leading man Francoise Cluzet. The similarities with Dustin Hoffman do not stop with his striking physical resemblance. Cluzet plays the part of Alex with a determination and devotion that will have you feeling his pain and fighting in his corner. He is emotionally blank when we see him eight years after the loss of his wife, but still conscientious as a doctor - thoughtful and shyly humorous. His likeability makes his emotional fragility all the more heartfelt – at any moment ready to burst into tears or fly off in rage. Canet really does run him ragged, and not just emotionally - Hoffman similarities are seen as Alexandre jumps out of windows and sprints across busy highways, recalling the likes of Marathon Man.
French film fans expecting a talky melodrama will be surprised by the action-packed nature and frenetic pace, which Canet directs with assuring confidence. The non-stop action, constant flow of incident and new possibilities do come at an exhausting rate. This is truly a thrill ride from start to finish, and installs a desperation not just in its protagonist but its audience, too - you will be forgiven for feeling like you may have missed something. As frustrating as this can be, it is hard is give up on the drive of the story.
Alex’s quest is valiant and worthy of your attention, but he does meet a fair few stale points on his journey. Despite a beautifully French-speaking part for English star Kristen Scott Thomas, and not a wooden performance in sight, we encounter a lot of standard American character types along the way. In particular, Alexandre’s unlikely alliance with gangster Bruno conjures images of a role for a rapper like 50 Cent or X-Zibet when the American remake comes about, plus there is an all too familiar mix of maverick cops and hard talking lawyers.
It is a shame, also, that the mystery of the story is explained at the end through one character’s confession. With all the red herrings and plot holes it leaves untouched, you could be left wanting a more natural uncovering of the truth. This, however, is saved both by our relief at finally being able to put to bed a head spinning mystery.
The joy of this film stems from a representation of adult love that is consistently believable and worthy of a fight. The onscreen chemistry of Alexandre and Margot shows a love and wanting that is truly incessant - Marie-Josée Croze’s angelic face holds all the pain of a shattered life. Even a soundtrack including Jeff Buckley and U2 sets a longing that elsewhere could be too sugar sweet and obvious.
This thriller provides both viscerally and emotionally. On the surface: bundles of action and adventure in chic Paris, below: a moving love story. Guillaume Canet shows why he is so highly regarded in his home country with his portrayal of lost love, betrayal and human triumph. Americanised misgivings do not stop this being a definite one to watch. LW
