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Reviews Counted:16
Fresh:6
Rotten:10
Average Rating:4.9/10
Runtime: 1 hr 35 mins
Genre: Musical & Performing Arts
Starring: Louis Garrel, Ludivine Sagnier, Chiara Mastroianni, Brigitte Rouan
Director: Christophe Honoré
Stylistically Honore favours a naturalistic approach to choreographing the composer Alex Baupain's thirteen songs, thus avoiding the pitfalls of kitsch and irony, whilst his young and beautiful cast, deliver appealingly vibrant performances.
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It is an erotic narrative whose characters express their innermost feelings in bursts of song, but it never sacrifices its heartfelt, often painful moods on the altar of irony.
In a would-be sexy romp full of rumoured threesomes, there's nowhere near enough actual flesh on display.
Yet another valiant but unsuccessful effort to rehabilitate the potency of the musical genre, Honore's Love Songs is a Gallic tweener, neither charming in the academic manner of Jacques Demy 1960s musicals nor immediate enough for contemporary viewers.
Sensitively using song to express grief, passion and ennui, this is a cineaste’s delight.
A good film -- if not necessarily a good musical.
I kept waiting for mimes to show up, on screen or off...
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You need a sweet tooth for this kind of thing and Garrel really is turning into the most irritating actor in the world, hyperactively clowning around and generally behaving like the Big Brother contestant from hell.
The result is mixed.
Top CriticStylish, but that doesn't really make up for the drifting plot, or the lack of insight and conviction.
Sokaristiko ohi gia tin tolmi ton eikonon, i ton ideon toy, alla giati katebazei ti diastimiki apithanotita toy na brethei sokolatoyho gala ston Ari, kai soy ti serbirei me ayga kai mpeikon, les kai to pio anorthodokso pragma s' ayto, einai oti to stayrol
The songs are poor, the faddishness (folk parading books passim, à la Godard) and Garrel’s performance are irritating, and only Chiara Mastroianni as a grieving sister brings any real sense of conviction to her role.
Not least of the film’s problems is the score: thirteen overly wordy, thoroughly unremarkable songs, breathily performed by a cast with no notable singing ability.
An affecting, vibrantly-acted work.
Some of Alex Baupain's tunes were already written, others composed specifically for the film. They're pleasant affairs, each tuned to the characters' states of mind, but the melodies aren't distinctive enough to leave more than a passing impression.
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