The Girl from Paris (2003)

Crabby old geezer Michel Serrault befriends girl in the French countryside... hang on... isn't that "Le Papillon (2002)"? One does detect a similar demographic here (though Carion's film came first). This is mainly a woman's film so I'm not likely to judge it properly, but I think I know what it was trying to do. It didn't make it. There was a directorial flatness about it, even during the moments that should have been lush. Too many scenes were lank and ineffectual and left us thinking: "well...?". It didn't help that the central challenge - the farm in the mountains which the woman has gone to manage - seemed to only contain a few goats which she led out into the meadows from time to time - hmmm, no herculean task. The humour was too slight and was swamped by a relentless overearnestness; the director couldn't manage to give it any edge and as a result none of it meant much. I'm not at all sure what was the point of the relationship with the old man except to give the film some kind of social arc. More interestingly, the story might be symptomatic of a society that has lost its identity through too much choice, when a single woman who teaches computer skills is not only inspired (a common enough dream) but is fully empowered to buy and manage a huge idyllic farm in the mountains. Some dream.

Some of the themes in this movie are attractive for popular audiences : the return to country values, life and death in nature, a woman's bravery, old people's loneliness, and so forth. Alright. But writer-director Christian Carion is unable to exploit them and tell a story to the fullest. He should hire a professional writer to help him put his sensitivity through. So many dramatic elements are planted and never pay off. What about this parachutist we see once in a while? Is this only a metaphor for something? Can't its storyline have an ending, and therefore a meaning, other than something symbolic left to every viewer's appreciation? When a death is announced at one point in the narrative, you expect it is Adrien's (Michel Serrault) because it has been largely planted that he is to disappear. Surprise, it's Jean's (Jean-Paul Roussillon). OK, fair enough. But then, why is Adrien's death never presented? We should have seen how Sandrine (Mathilde Seigner) manages at the farm without the help and presence of Adrien. None of that. On the whole, this film is a narrative waste of good intentions.

Greetings again from the darkness. Wonderful, subtle French film that displays the nuances of quiet desperation of the young and fear of loneliness and death of the elderly. Make no mistake, the venerable Michel Serrault MAKES this movie! He is downright remarkable as Adrien, the long time farmer, who sells is farm to the young city girl played well by Mathilde Seigner. Many excellent scenes including awkward moments for all. The ridiculous comments about cruelty to animals during the filming is not worthy of mention. This is a fact of life on a farm and obviously the cow scenes were real life - not created for the film. The pig scene, may be painful to watch, but effectively makes the point of life and death on a farm - just like the goat birth scene. As far as the rabbit, give me a break, we see a live bunny and then one being prepared for dinner. This can happen in any restaurant on a daily basis. Yes the hang glider was a bit too much, too often, but I loved the Volvo, the Weimeramer and the "dumb" goat. Very personal film with much insight into human nature at all ages.

One of those French films with originality of script and warmth released by great comedians such as veteran actor Michel Serrault. Unforgettable! We get acquainted with the new life of a city woman who learns to live in daily Vercors rural life exigence. Very atmospheric and most pleasant!