My review was written in June 1989 after a AFI European Commission screening at Manhattan's French Institute.
"Femme de papier" is a delightful French comedy offering a few twists on a traditional imposture theme of having a photogenic front for the anonymous author of popular novels ("Front Woman" is pic's English language moniker).
Playing in the U. S. at the traveling AFI European Community Film Festival, pic stands a good chance at the box office back on its home turf, and has decent export prospects.
For her second feature following the period drama "Sorceress", Suzanne Schiffman changes pace to a light and peppy style associated with early New Wave pics by Jean-Luc Godard and Francois Truffaut. (on which she apprenticed as script girl). Casting of Jean-Pierre Leaud in an emblematic role continues the link with that tradition.
Leaud portrays a Parisian publisher of romance novels who hits on the gimmick of having his live-in girlfriend (carrot-top cutie Helene Lapiower) pose as author Rosine de Beaumont for book jacket and autograph signings. She's an immediate hit but rebels against being exploited, and throws Leaud out of their apartment.
Complications occur when she meets a nerd (Rufus) claiming to be the book's author, leading to discovery of the real author (Thierry Fortineau), a bookseller who''s so happy to be in print at last that he's not to miffed at the deception. Climax shot at Charles de Gaulle Airport neatly weaves plot threads together for a blissfully happy ending.
Schiffman's light touch makes this typical French fluff soar, abetted by a very peppy cast. Leaud's fussy mannerisms are a nostalgic throwback to his '60s persona while the newcomer Lapiower scores as a personable, energetic gamin in the Marlene Jobert mold. Particularly fun are several impromptu song numbers belted (direct-sound) by Lapiower and her best gal Caroline Loeb. Rufus is properly eccentric (with a M. Hult-esque gait) as the introverted "writer".
Sprightly score by Jean-Pierre Mas is in sync with the director's self-conscious approach. Hidden-camera type photography of street scenes (with apparent use of real-life extras) adds to pic's verve.
"Femme de papier" is a delightful French comedy offering a few twists on a traditional imposture theme of having a photogenic front for the anonymous author of popular novels ("Front Woman" is pic's English language moniker).
Playing in the U. S. at the traveling AFI European Community Film Festival, pic stands a good chance at the box office back on its home turf, and has decent export prospects.
For her second feature following the period drama "Sorceress", Suzanne Schiffman changes pace to a light and peppy style associated with early New Wave pics by Jean-Luc Godard and Francois Truffaut. (on which she apprenticed as script girl). Casting of Jean-Pierre Leaud in an emblematic role continues the link with that tradition.
Leaud portrays a Parisian publisher of romance novels who hits on the gimmick of having his live-in girlfriend (carrot-top cutie Helene Lapiower) pose as author Rosine de Beaumont for book jacket and autograph signings. She's an immediate hit but rebels against being exploited, and throws Leaud out of their apartment.
Complications occur when she meets a nerd (Rufus) claiming to be the book's author, leading to discovery of the real author (Thierry Fortineau), a bookseller who''s so happy to be in print at last that he's not to miffed at the deception. Climax shot at Charles de Gaulle Airport neatly weaves plot threads together for a blissfully happy ending.
Schiffman's light touch makes this typical French fluff soar, abetted by a very peppy cast. Leaud's fussy mannerisms are a nostalgic throwback to his '60s persona while the newcomer Lapiower scores as a personable, energetic gamin in the Marlene Jobert mold. Particularly fun are several impromptu song numbers belted (direct-sound) by Lapiower and her best gal Caroline Loeb. Rufus is properly eccentric (with a M. Hult-esque gait) as the introverted "writer".
Sprightly score by Jean-Pierre Mas is in sync with the director's self-conscious approach. Hidden-camera type photography of street scenes (with apparent use of real-life extras) adds to pic's verve.
