Chanson of Love (2007)

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Movie
German title Chanson of love
Original title Les Chansons d'amour
Country of production France
original language French
Publishing year 2007
length 95 minutes
Age rating FSK 6
Rod
Director Christophe Honoré
script Christophe Honoré, Gaël Morel
production Paulo Branco
music Alex Beaupain
camera Remy Chevrin
cut Chantal Hymans
occupation

Chanson of Love ( Les Chansons d'amour ) is a French feature film (2007) with song interludes.

action

The relationship between the 30-year-old Parisian Ismaël and Julie has lost momentum. To spice them up, they take Alice in as a third party. However, the three of them in bed soon realize that this constellation is not working smoothly either. Things seem to ease when Alice hooks up with another guy.

Julie dies unexpectedly of heart failure. Ismaël tries to cope with his grief after long strolls through the city. He is insensitive to the affection of Jeanne, Julie's sister. Instead, he responds to the advances made by the young Breton Erwann and breaks away from Alice. Finally Julie appears again and he can end this chapter of his life.

Allusions

Chanson of Love contains 13 song parts, which are performed by actors who have not been trained to sing. In addition, the film has numerous allusions to the fully sung classic Die Regenschirme von Cherbourg (1964). For example, he has taken over the three subtitles “The Departure”, “The Absence” and “The Return”. There are some references to works from the Nouvelle Vague . The bedtime reading scene refers to François Truffaut's film Tisch und Bett (1970); like Claude Jade , Ludivine Sagnier is now asked to put on her glasses. Truffaut's stolen kisses are also quoted and many critics compare Louis Garrel as the revenant of Jean-Pierre Léaud's Antoine Doinel . The area around the Porte Saint-Martin as the setting was understood by Jean-Luc Godard as a tribute to A Woman is a Woman .

Arguments of criticism

In filmdienst -reviewed Hans Messiah the film. The way Honoré deals with the subjects of love, death, mourning and parting, "is admirable, testifies to courage and staging sensitivity." The fascinating chansons create "moments in which sadness, sadness and anger lie close together". And: "Direction, music and the convincing actors (who, however, sing on different levels) are supported by the congenial camera work". In epd Film , Karlheinz Oplustil found that Louis Garrel appeared like a doppelganger of the Nouvelle Vague star Jean-Pierre Léaud . Honoré's homage to the Nouvelle Vague lies less in the allusions to those films than in his staging, "which leaves space for dramaturgical breaks, for playful experimentation and spontaneity". The film borrows a lot from the umbrellas and only develops “real originality” with Julie's death. "In the first part, the young people don't make it easy to like them, their behavior is too superficial and mannered, and their relationship problems seem too sought-after." FAZ critic Michael Althen gave a similar judgment. Initially, the film leaves the viewer at a loss, but from Julie's death onwards, the film is “grief work” and goes to the heart. Honoré took great care to pay homage to the example of The Cherbourg umbrellas . "And Louis Garrel acts like the prettier revenant of Jean-Pierre Léaud anyway."

Thomas Abeltshauser reviewed the strip in the Berliner Morgenpost . The film succeeds in balancing “between charm and sentiment, between the authentic worlds of young city dwellers and Paris kitsch”, “sometimes more, sometimes less”. At the transitions between singing and game scenes it jerked quite clearly. These transgressions are most elegantly achieved by Louis Garrel. In Der Spiegel , Wolfgang Höbel described the film as a “vain, mannered and at most moderately charming finger exercise”. The story largely lacks passion and interest. "Unfortunately the music is not particularly good and often worse kitsch." The short review of the Frankfurter Rundschau stated that the pieces of music were hits instead of chansons, and Honoré's film never came close to the quoted Die Regenschirme von Cherbourg .

literature

conversations

  • With Christophe Honoré in the Berliner Zeitung , August 21, 2008, Kulturkalender p. 2: I want to capture the living Paris

Review mirror

positive

  • film-dienst No. 17/2008, p. 33, by Hans Messias: Chanson of love

Rather positive

Mixed

  • Berliner Morgenpost , August 21, 2008, supplement Berlin Live, p. 2, by Thomas Abeltshauser: Musikreigen in Paris

negative

Web links

Individual evidence

  1. ↑ Release certificate for Chanson of Love . Voluntary self-regulation of the film industry , June 2008 (PDF; test number: 114 282 DVD).
  2. ↑ a b Karlheinz Oplustil: Chanson of love . In: epd Film , No. 8/2008, p. 44
  3. ↑ Hans Messias: Chanson of love . In: film-dienst , No. 17/2008, p. 33
  4. ↑ Michael Althen: The umbrellas from the tenth arrondissement . In: Frankfurter Allgemeine Zeitung , August 22, 2008, p. 42
  5. ↑ Thomas Abeltshauser: Musical dance in Paris . In: Berliner Morgenpost , August 21, 2008, supplement Berlin Live, p. 2
  6. ^ Wolfgang Höbel: Cannes diary. Smiles forbidden! . In: Der Spiegel , May 18, 2007
  7. ↑ Frankfurter Rundschau , August 21, 2008, p. 30: Chanson of Love