(2010) Romantic Comedy (Music Box) Jacques Gamblin, Sara Forestier, Zinedine Soualem, Carole Franck, Jacques Boudet, Michele Moretti, Zakariya Gouram, Nabil Massad, Cyrille Andrieu-Lacu, Cristina Palma De Figueiredo, Lydie Muller. Directed by Michel Leclerc
Back in the day the counterculture sorts used to proclaim “Make love, not war.” This is a film that takes it to new heights.
Arthur Martin (Gamblin) has a dull, common name – the French equivalent to Bob Jones. He is an ornithologist working for the French government doing autopsies on dead birds to determine how they died and whether or not a disease is involved that might cause problems for the French meat industry.
His mother (Moretti) was a survivor of the Holocaust whose parents were deported to Greece. These twin events served to traumatize her deeply; Arthur’s dad (Boudet) has made a series of taboo subjects that are not to be discussed in order not to upset mom. Although Arthur’s parents have their quirks (they seem to latch on to every failed technology that comes along, from the Betamax to the Laser Disc – I’m sure the HD DVD is in there somewhere too), Arthur grows up in a fairly repressed environment which makes him a kind of weird boy who is absolutely anathema to the ladies. This makes it incredibly hard for him to get laid.
Baya Benhmamoud (Forestier) is a free spirit whose father (Soualem) was a refugee from Algeria (which at the time was a French colony) in France illegally. Her mom (Franck) was a hippie who advocated France’s withdrawal from Algeria and overall, peace and love in general. Mom helped Dad get his French citizenship. Dad is one of those people who loves to help other people fix things; his happiness always seems to be secondary to everyone else’s and Baya yearns to make her daddy happy.
When Baya is molested by a piano teacher, it drives her to express her sexuality more openly than she might have. Inheriting her mother’s political outlook, she basically categorizes everyone into two categories; good people and fascists. It is her goal to have sex with fascists and convert them to her way of thinking.
Baya is a bit scatter-brained, forgetting in one unforgettable scene to put on clothes before leaving the house. You know that she and Arthur are going to meet (she storms into a radio interview he is doing as she is working at the station answering phones and proclaims him a fascist for scaring people with fears of bird flu) and when they do, both of their views about life, love and sex are going to change forever.
The movie is based on some actual experiences the director-writer had with his partner which I suppose could only happen in France. Can you imagine some hippie chick bedding Rush Limbaugh in order to change his allegiance? Forgive me while I throw up a little in my mouth – feel free to join me if you wish.
Forestier won a French Cleo (their equivalent of the Oscar) for her performance here and I have to admit, she is very natural and uninhibited in this role which might make an American actress run screaming for her trailer and locking the door behind her. Baya is very aware of her ethnic background but also aware of her own sexuality and what she can do with it. One wonders if the inspiration for her read the Lysistrata, a play by Aristophanes in which the wives and girlfriends of a Greek army withhold sex from their husbands until they come home from war. I suppose it can work both ways, men being such sex-driven animals.
Gamblin has to play as white-bread a character as you’re likely to find in French cinema. He is all rules and repression, rarely letting what is bubbling below his surface be revealed. Once Baya works her magic on him, he discovers the joys of sex and attraction which turns him into a bit of a maniac. Gamblin has to insure that Arthur treads the line between lust and love, a line the French understand very well (in general) and that Arthur be one of the exceptions to that rule. One of the fine things about French cinema is that Gamblin wouldn’t ordinarily be thought of as romantic leading man material in Hollywood, but he fits this role very nicely in a physical sense.
The movie brings sexual politics into actual politics and the line blurs as to which is which at times. There is a lot of poking fun at stereotypes of both the left and right, and while I’m fairly ill-informed as to how the French political system works and some of the jokes no doubt went sailing above my head like an Independence Day rocket, nonetheless there’s enough here that is universal enough that non-French speaking audiences will get a kick out of it too.
REASONS TO GO: A low-key comedy with gentle humor that brings sexual politics to real politics. Forestier is easy on the eyes.
REASONS TO STAY: The central conceit of the script might be too much for the more puritanical.
FAMILY VALUES: There is a whole lot of nudity (most provided by Ms. Forestier) and some accompanying sexuality; there’s also a bit of swearing (in French).
TRIVIAL PURSUIT: After an actress initially cast as Baya demanded a nude scene be removed from the script, Forestier requested it be put back in the script as she felt it was central to the character’s identity.
HOME OR THEATER: This film is near the end of its release run and might be much easier to find on DVD/Blu-Ray when it’s released to home video October 18th.
FINAL RATING: 6/10
TOMORROW: Real Steel