While many scenes in this film are really funny and there's nice acting, the main problem is that the plot just doesn't make any sense. It's forced from the beginning and continues to get more unbelievable by the minute. And to top that: Emilie (played by Tautou) is, simply, a bitch, and her love interest Jean (Sami Bouajila) is a really nice guy, and the least one can expect from a romantic comedy is that such a nice guy ends up with a woman who deserves his adoration. Instead he ends up with the bitch. Maybe this was supposed to be a modern screwball comedy, but for that there was too much emotional pain (inflicted on Jean and on Maddy, Emilie's mother, played adorably by Nathalie Baye). Now, if Jean and Maddy would have escaped Emilies schemes for good, this film still wouldn't be believable but at least have a happy ending!
20 Reviews
A Nutshell Review: Beautiful Lies
DICK STEEL11 July 2011
Director Pierre Salvadori reunites with actress Audrey Tautou from their earlier collaboration Priceless, but don't get your hopes up too high that Beautiful Lies would be a solid enough follow up especially if you enjoyed their earlier film on how some would fake a relationship or trade love for money. Salvadori continues with the offbeat romantic comedy premise involving make believe with this film, but alas it came through as a rather predictable affair.
It's hard to sustain a relationship based on a lie, and things get a lot complicated here when lies become the foundations on which romantic relationships, favours and that between parent and child get all built upon, where an innocently anonymous letter from a hair salon handyman Jean (Sami Bouajila) to his boss Emelie (Audrey Tautou) the salon co-owner, gets tossed aside by the latter since she obviously paid no heed to it, only for that attention to be retracted when she realized that her mom Maddy (Nathalie Baye) is due for a romantic lift from her prolonged sustained depression since her husband Marc (Paul Morgan) left her for someone younger and nubile to be his artistic muse.
Thus begins a series of contrived misunderstandings and lies built upon lies with the constant letter writings from Emelie posing as an anonymous admirer, only for her ruse to be unintentionally skewed way off the mark when Maddy thinks it is indeed Jean who has hidden feelings for her, no thanks to an errant Jean had to run which took him to dropping off the letter. Naturally this follows plenty of hidden meanings and Emelie trying to come between the two for fear of an expose, guiding this film to some laughable light hearted moments.
But it turned into a chore with Emelie having to beg a reluctant Jean to continue a charade to entertain her mother for fear of her mental and emotional state, with Emelie none the wiser that Jean was actually the originator of the letter to her declaring his love from afar. Oh the pain involved to help a loved one in her time of need, yet having to compromise one's principles to act out a lie, and worse, to lead a senior citizen on in some hope of a second wind of romance. It may sound like a fun premise, but trust me, it certainly was a chore to the character of Jean, and somehow this translated to the whole narrative giving you that sinking feeling of being unable to bail out from something forced upon, and unpleasant.
Beautiful Lies got condemned in a certain way with a whole host of unlikeable ones. Emelie begins with a good intent, but in efforts to save her own skin from embarrassment and to keep her madcap idea under reins, she turns into some crazy control freak who frequently lies, manipulating Jean and of course causing undue strain with her staff at work. Manipulative and scheming, Audrey Tautou does pull this one off to a certain degree, until it became repetitive no thanks to Emelie's constant exasperation. Jean also went into an about turn with his descend into probably one of the biggest cinematic jerks as well, one without courage to walk out of a morally compromising position, and assisting an ugly (on the inside) woman with her grand scheme. Only perhaps Nathalie Baye's portrayal as the emotionally helpless mom brought about some light to the film, if not for the last few scenes of the film to really show her off as an opportunist with no qualms to turn tables.
Without characters you genuinely feel for and a narrative that was in a hurry to conclude with a convenient ending sticking out like a sore thumb, one too perfect in many ways to sweep all development under the carpet, Beautiful Lies is extremely far from beautiful, and you would probably be better off watching any of Tautou's earlier works. Certainly not one of her best roles to date, stuck in a story based on a joke that had gone too far it isn't interesting.
It's hard to sustain a relationship based on a lie, and things get a lot complicated here when lies become the foundations on which romantic relationships, favours and that between parent and child get all built upon, where an innocently anonymous letter from a hair salon handyman Jean (Sami Bouajila) to his boss Emelie (Audrey Tautou) the salon co-owner, gets tossed aside by the latter since she obviously paid no heed to it, only for that attention to be retracted when she realized that her mom Maddy (Nathalie Baye) is due for a romantic lift from her prolonged sustained depression since her husband Marc (Paul Morgan) left her for someone younger and nubile to be his artistic muse.
Thus begins a series of contrived misunderstandings and lies built upon lies with the constant letter writings from Emelie posing as an anonymous admirer, only for her ruse to be unintentionally skewed way off the mark when Maddy thinks it is indeed Jean who has hidden feelings for her, no thanks to an errant Jean had to run which took him to dropping off the letter. Naturally this follows plenty of hidden meanings and Emelie trying to come between the two for fear of an expose, guiding this film to some laughable light hearted moments.
But it turned into a chore with Emelie having to beg a reluctant Jean to continue a charade to entertain her mother for fear of her mental and emotional state, with Emelie none the wiser that Jean was actually the originator of the letter to her declaring his love from afar. Oh the pain involved to help a loved one in her time of need, yet having to compromise one's principles to act out a lie, and worse, to lead a senior citizen on in some hope of a second wind of romance. It may sound like a fun premise, but trust me, it certainly was a chore to the character of Jean, and somehow this translated to the whole narrative giving you that sinking feeling of being unable to bail out from something forced upon, and unpleasant.
Beautiful Lies got condemned in a certain way with a whole host of unlikeable ones. Emelie begins with a good intent, but in efforts to save her own skin from embarrassment and to keep her madcap idea under reins, she turns into some crazy control freak who frequently lies, manipulating Jean and of course causing undue strain with her staff at work. Manipulative and scheming, Audrey Tautou does pull this one off to a certain degree, until it became repetitive no thanks to Emelie's constant exasperation. Jean also went into an about turn with his descend into probably one of the biggest cinematic jerks as well, one without courage to walk out of a morally compromising position, and assisting an ugly (on the inside) woman with her grand scheme. Only perhaps Nathalie Baye's portrayal as the emotionally helpless mom brought about some light to the film, if not for the last few scenes of the film to really show her off as an opportunist with no qualms to turn tables.
Without characters you genuinely feel for and a narrative that was in a hurry to conclude with a convenient ending sticking out like a sore thumb, one too perfect in many ways to sweep all development under the carpet, Beautiful Lies is extremely far from beautiful, and you would probably be better off watching any of Tautou's earlier works. Certainly not one of her best roles to date, stuck in a story based on a joke that had gone too far it isn't interesting.
Return to Sender
kosmasp11 January 2012
This is a light romantic comedy from France that actually does have a few edges. Which means it's not too straightforward, but it also means that it has some story developments that might not be to your liking. Especially if you believe the cover text (about this having the heights of Amelie).
Do not even think about Amelie (it might seem difficult but our Amelie sweetheart is capable of being someone else too), because this will spoil your movie experience. I liked this a lot because, the characters seem so real and therefor you really feel for the people/characters and what they are going through. Not everyones taste obviously this is a nice touch on a genre :o)
Do not even think about Amelie (it might seem difficult but our Amelie sweetheart is capable of being someone else too), because this will spoil your movie experience. I liked this a lot because, the characters seem so real and therefor you really feel for the people/characters and what they are going through. Not everyones taste obviously this is a nice touch on a genre :o)
Vibrant and refreshing
Gordon-111 April 2011
This film is about a salon owner who uses a desperately wants her mother to get over her father falling in love with someone 20 years younger. She writes an anonymous love letter to cheer her mother up, with disastrous results.
Throughout the film, "Beautiful Lies" (as it is called in Hong Kong) maintains an upbeat and lovable atmosphere. The deceits of beautiful intentions are so beautiful to watch. Emilie is beautiful, charming and mischievous, while Jacques is reserved, intellectual and charming. The mother is vibrant and attractive when her spirits are lifted up. The film is full of love, not just romantic love, but love for friends, acquaintances and parents too. And it is funny as well!
Throughout the film, "Beautiful Lies" (as it is called in Hong Kong) maintains an upbeat and lovable atmosphere. The deceits of beautiful intentions are so beautiful to watch. Emilie is beautiful, charming and mischievous, while Jacques is reserved, intellectual and charming. The mother is vibrant and attractive when her spirits are lifted up. The film is full of love, not just romantic love, but love for friends, acquaintances and parents too. And it is funny as well!
An accessible and lightweight French comedy featuring everyone's favourite Audrey Tautou
moviexclusive3 July 2011
Love seems especially beautiful when it happens in France, doesn't it? We've all imagined ourselves as the beautiful people headlining French movies like Amelie (2001), A Very Long Engagement (2004) and Priceless (2006). Is it just coincidence that the above-mentioned movies feature French cinema's darling Audrey Tautou? Here we have another romantic comedy starring the lovely starlet and her pixie crop.
Tautou plays Emilie (probably paying homage to Amelie, the character which made the French star a household name), an owner of a hairdressing salon who receives a hand written love letter from a shy handyman. She dismisses the passionate letter at first, but when she realises that her mother is still distraught over the betrayal of her father, she decides to resend the letter to cheer the upset woman up. What follows is a series of misunderstandings and an awkward love triangle involving a man caught between two women who are mother and daughter.
This is your usual French charmer, with a tried and test romantic comedy formula. You'd be chuckling instead of roaring in laughter at the setups and the occasional sexual innuendos, you'd be impressed with yourself (yet again) because you could see the ending coming one quarter into the 105 minute movie, and you'd have no problem sitting through this lightweight and accessible production where everyone, well, is a charmer.
We are talking about the caricatured characters here, ranging from Tautou's smart alec but lovable protagonist, Nathalie Baye's (Catch Me If You Can) mother character who seems a little too hungry for sex, Sami Bouajia's (Days of Glory) handsome handyman, and other supporting roles written to provide additional laughs. This isn't exactly a bad thing though - the people in the world written by scriptwriter Benoit Graffin may lead everyday lives like ours, but there is something particularly charismatic about how they appear on screen. This makes us common folks desire for a lifestyle like theirs, and that's probably why everyone loves French cinema.
Tautou and her signature bob does nothing new here, but still manages to have you siding with her idiosyncratic and quirky character. Baye steals the show as the mother whose love life is turned upside down after receiving a zealously written love letter. The actress manages to deliver a comical performance which provides the energy for the film. Bouajia isn't too bad either, as one can only imagine his frustration as he finds himself caught between two women. Supporting characters played by Stephanie Lagarde and Judith Chemla complete the likable ensemble cast.
As this isn't a sweeping romance drama, you can expect standard production values (read: simple cinematography and simple art direction) which are more commonly found on TV movies. This, also isn't a bad thing, because your attention should be on the character's jesting and bantering.
Director Pierre Salvadori, who also co penned the screenplay, is obviously hoping to repeat the success he enjoyed on Priceless five years ago, which also starred Tautou. A romantic comedy like this will be easily enjoyed by the masses, but it may also be conveniently filed into the category of "one of those" French comedies you've watched before.
Tautou plays Emilie (probably paying homage to Amelie, the character which made the French star a household name), an owner of a hairdressing salon who receives a hand written love letter from a shy handyman. She dismisses the passionate letter at first, but when she realises that her mother is still distraught over the betrayal of her father, she decides to resend the letter to cheer the upset woman up. What follows is a series of misunderstandings and an awkward love triangle involving a man caught between two women who are mother and daughter.
This is your usual French charmer, with a tried and test romantic comedy formula. You'd be chuckling instead of roaring in laughter at the setups and the occasional sexual innuendos, you'd be impressed with yourself (yet again) because you could see the ending coming one quarter into the 105 minute movie, and you'd have no problem sitting through this lightweight and accessible production where everyone, well, is a charmer.
We are talking about the caricatured characters here, ranging from Tautou's smart alec but lovable protagonist, Nathalie Baye's (Catch Me If You Can) mother character who seems a little too hungry for sex, Sami Bouajia's (Days of Glory) handsome handyman, and other supporting roles written to provide additional laughs. This isn't exactly a bad thing though - the people in the world written by scriptwriter Benoit Graffin may lead everyday lives like ours, but there is something particularly charismatic about how they appear on screen. This makes us common folks desire for a lifestyle like theirs, and that's probably why everyone loves French cinema.
Tautou and her signature bob does nothing new here, but still manages to have you siding with her idiosyncratic and quirky character. Baye steals the show as the mother whose love life is turned upside down after receiving a zealously written love letter. The actress manages to deliver a comical performance which provides the energy for the film. Bouajia isn't too bad either, as one can only imagine his frustration as he finds himself caught between two women. Supporting characters played by Stephanie Lagarde and Judith Chemla complete the likable ensemble cast.
As this isn't a sweeping romance drama, you can expect standard production values (read: simple cinematography and simple art direction) which are more commonly found on TV movies. This, also isn't a bad thing, because your attention should be on the character's jesting and bantering.
Director Pierre Salvadori, who also co penned the screenplay, is obviously hoping to repeat the success he enjoyed on Priceless five years ago, which also starred Tautou. A romantic comedy like this will be easily enjoyed by the masses, but it may also be conveniently filed into the category of "one of those" French comedies you've watched before.
- www.moviexclusive.com
Witty Romantic Comedy Let Down by Its Ending
l_rawjalaurence7 September 2014
Set in a world of perpetual sunshine in the south of France, BEAUTIFUL LIES (DE VRAIS MENSONGES) has a plot with distinct echoes of CYRANO DE BERGERAC. Former UNESCO translator Jean (Sami Bouajila), now working in a hairdressing salon, writes an anonymous love-letter to owner Emilie (Audrey Tautou). Although not knowing who the author is, Emilie convinces her mother Maddy (Nathalie Baye) that the letter has been written for her mother's benefit: Emilie subsequently writes two more anonymous love-letters for her mother, pretending that they have come from the same author as the first letter. Further complications ensue, but the story ends happily enough.
Pierre Salvadori's film looks at the gulf separating words from meanings: what the characters say - either in written or spoken discourse - and what they actually mean are often two different things. This is especially true of Emilie, who convinces herself that she is acting in her mother's best interests, but ends up being utterly self-absorbed. Her narcissistic nature is summed up by the frequency of shots where she sits in her office, a bottle of vodka in hand, trying to pen new love-letters for her mother. Emilie comes across as a basically unattractive person; in the pre-credit sequence she is shown cutting the fringe off one of her customer's (Cécile Boland's) hair, even though the customer specifically insists otherwise.
By comparison, Maddy is meant to be represented as an innocent victim - unable to come to terms with her ex-husband's (Daniel Duval's) decision to leave her for a younger woman, her life is in pieces, as she sits on the sofa in a nightdress. The prospect of a younger man falling in love with her gives her renewed energy, so much so that, even when Emilie tells her the truth, Maddy still invites Jean round for a romantic dinner for two. But here's the rub - at the end of the evening she decides to bed Jean, while being perfectly aware of his feelings for Emilie. We are left to wonder why: is Maddy taking revenge on her daughter, or is she at heart as self-interested as Emilie?
For the first four-fifths of DE VRAIS MENSONGES, director Salvadori creates a light-as-gossamer romantic comedy with serious undertones in which gesture assumes as much significance as word. The shot/reverse shot sequences involving Emilie and Jean, where the two of them try their best not to disclose their true feelings for one another, are beautifully handled, as is the sequence where Emilie's tongue-tied employee Paulette (Judith Chemla) tries her best to explain something to Emilie while not looking her in the eye. The ending, however, is a bit of a cop-out - although order is restored, we are left to ponder the (lack of) moral scruples influencing the characters' behavior, even that of Jean. One wonders precisely how women are viewed in this apparently liberal society.
Pierre Salvadori's film looks at the gulf separating words from meanings: what the characters say - either in written or spoken discourse - and what they actually mean are often two different things. This is especially true of Emilie, who convinces herself that she is acting in her mother's best interests, but ends up being utterly self-absorbed. Her narcissistic nature is summed up by the frequency of shots where she sits in her office, a bottle of vodka in hand, trying to pen new love-letters for her mother. Emilie comes across as a basically unattractive person; in the pre-credit sequence she is shown cutting the fringe off one of her customer's (Cécile Boland's) hair, even though the customer specifically insists otherwise.
By comparison, Maddy is meant to be represented as an innocent victim - unable to come to terms with her ex-husband's (Daniel Duval's) decision to leave her for a younger woman, her life is in pieces, as she sits on the sofa in a nightdress. The prospect of a younger man falling in love with her gives her renewed energy, so much so that, even when Emilie tells her the truth, Maddy still invites Jean round for a romantic dinner for two. But here's the rub - at the end of the evening she decides to bed Jean, while being perfectly aware of his feelings for Emilie. We are left to wonder why: is Maddy taking revenge on her daughter, or is she at heart as self-interested as Emilie?
For the first four-fifths of DE VRAIS MENSONGES, director Salvadori creates a light-as-gossamer romantic comedy with serious undertones in which gesture assumes as much significance as word. The shot/reverse shot sequences involving Emilie and Jean, where the two of them try their best not to disclose their true feelings for one another, are beautifully handled, as is the sequence where Emilie's tongue-tied employee Paulette (Judith Chemla) tries her best to explain something to Emilie while not looking her in the eye. The ending, however, is a bit of a cop-out - although order is restored, we are left to ponder the (lack of) moral scruples influencing the characters' behavior, even that of Jean. One wonders precisely how women are viewed in this apparently liberal society.
Vibrant and refreshing
alexpeychev10 June 2023
This film is about a salon owner who uses a desperately wants her mother to get over her father falling in love with someone 20 years younger. She writes an anonymous love letter to cheer her mother up, with disastrous results.
Throughout the film, "Beautiful Lies" maintains an upbeat and lovable atmosphere. The deceits of beautiful intentions are so beautiful to watch. Emilie is beautiful, charming and mischievous, while Jacques is reserved, intellectual and charming. The mother is vibrant and attractive when her spirits are lifted up. The film is full of love, not just romantic love, but love for friends, acquaintances and parents too. And it is funny as well!
Throughout the film, "Beautiful Lies" maintains an upbeat and lovable atmosphere. The deceits of beautiful intentions are so beautiful to watch. Emilie is beautiful, charming and mischievous, while Jacques is reserved, intellectual and charming. The mother is vibrant and attractive when her spirits are lifted up. The film is full of love, not just romantic love, but love for friends, acquaintances and parents too. And it is funny as well!
The best Romantic Comedy
fotobirajesh30 June 2011
Warning: Spoilers
Emilie runs a beauty salon. Her father, is in love with a 20 year old, is seeking divroce and her mother, Maddy, is depressed. Jean, who works in her salon, sends Emilie an anonymous love letter. Emilie is least interested, but then decides to send this letter to her mother to lift her spirits. Sure, it did, but then she had to make up two more letters on her own. Maddy mistakes Jean as her writer. Emilie is in serious trouble.
This is a brilliant romantic comedy. Mistaken identities, misunderstandings, untold love, search for love, all its there, but there is a touch of class all over too. The characters are brilliant. Emilie really wants to help her mother come out of the depression so she doesn't think twice before sending her a love letter. Only later does she realise, how difficult it is to create one by herself, which she cannot without the help of being drunk. At the same time, Emilie is somebody who walked out of a relationship when she realised her partner was more educated than her and is a man of letters. A simple reason, why the beautiful love letter, she received, didn't touch her at all. When she finds out that Jean is an intelligent chap, her irritation with him is wonderful. In fact the series of firing and reappointment of Jean is really funny. Maddy is depressed because of her husband, but she is a literature person so is moved by the adorable love letter. The way the love letter lift her spirits is really good. But she is soon depressed as the passion is absent in the second letter. Her search for the writer and her following up for Jean, and her final realisation of the truth it is all quite wonderful. Jean is a man of letters, knowing so many languages, who took up a maintenance job in the salon only to be near Emilie. But he is kind and sensuous too. So his frustration and kind of being out of mind, after the forced kiss with Maddie was really excellent. There are also couple of other small characters, like the partner of Emilie etc, who all does their part in the story.
Except for the final moments, when Maddy realises the truth or Emilie understands Jean, the movie moves on with brilliant moments of subtle fun. How can the French be so good. Its unbelievable, how some scenes, dialogues and characters are created. It is the reactions and expressions of the characters, of course with the situations, which makes the incredibly funny moments and it is really brilliant. Almost all the scenes, involving Emilie, Jean and Maddy for the three fourths of the movie offer excellent laughs. At the same time, we are also worried about their future and are touched by the three, for how things turn up for them towards the end. A small lovely turn brings the movie to a nice end.
Adurey Tautou is brilliant and brilliant. What an actress. She is living Emilie in the screen, is quite easy to say. But there were really tough scenes here where she had to give those spontaneous reactions and she excelled in each of them. A terrific performance.
Hopefully, like in the case of many other movies, within a few years, this movie would be remade in Hollywood. I can see Julia Roberts playing Emilie and the movie becoming an international hit. Fans of Hollywood will again rave about the greatness of Hollywood (like it happened with many other remakes) and these brilliant artistes behind the original would be forgotten.
This is a brilliant romantic comedy. Mistaken identities, misunderstandings, untold love, search for love, all its there, but there is a touch of class all over too. The characters are brilliant. Emilie really wants to help her mother come out of the depression so she doesn't think twice before sending her a love letter. Only later does she realise, how difficult it is to create one by herself, which she cannot without the help of being drunk. At the same time, Emilie is somebody who walked out of a relationship when she realised her partner was more educated than her and is a man of letters. A simple reason, why the beautiful love letter, she received, didn't touch her at all. When she finds out that Jean is an intelligent chap, her irritation with him is wonderful. In fact the series of firing and reappointment of Jean is really funny. Maddy is depressed because of her husband, but she is a literature person so is moved by the adorable love letter. The way the love letter lift her spirits is really good. But she is soon depressed as the passion is absent in the second letter. Her search for the writer and her following up for Jean, and her final realisation of the truth it is all quite wonderful. Jean is a man of letters, knowing so many languages, who took up a maintenance job in the salon only to be near Emilie. But he is kind and sensuous too. So his frustration and kind of being out of mind, after the forced kiss with Maddie was really excellent. There are also couple of other small characters, like the partner of Emilie etc, who all does their part in the story.
Except for the final moments, when Maddy realises the truth or Emilie understands Jean, the movie moves on with brilliant moments of subtle fun. How can the French be so good. Its unbelievable, how some scenes, dialogues and characters are created. It is the reactions and expressions of the characters, of course with the situations, which makes the incredibly funny moments and it is really brilliant. Almost all the scenes, involving Emilie, Jean and Maddy for the three fourths of the movie offer excellent laughs. At the same time, we are also worried about their future and are touched by the three, for how things turn up for them towards the end. A small lovely turn brings the movie to a nice end.
Adurey Tautou is brilliant and brilliant. What an actress. She is living Emilie in the screen, is quite easy to say. But there were really tough scenes here where she had to give those spontaneous reactions and she excelled in each of them. A terrific performance.
Hopefully, like in the case of many other movies, within a few years, this movie would be remade in Hollywood. I can see Julia Roberts playing Emilie and the movie becoming an international hit. Fans of Hollywood will again rave about the greatness of Hollywood (like it happened with many other remakes) and these brilliant artistes behind the original would be forgotten.
The lies are not beautiful.
dave_caveman15 July 2012
Warning: Spoilers
The first impression of this movie is of a pretty little French film with a very pretty little Audrey Tautou playing a character called Emilie. And if that doesn't remind you of the French classic Amelie, nothing will.
So far, so good.
One day, Emilie receives a romantic letter from co-worker Jean (don't get excited, Jean is a guy's name in France). However, as the letter is sent anonymously, Emilie bins it, assuming it to be from some crazy old customer.
A little later, Emilie realises that her mother is very depressed about her love life, which will only be made worse when she finds out her father is planning to remarry. And so, Emilie innocently decides to pass on the love letter to her mother to cheer her up
obviously nothing could possibly go wrong. Until her mother gets upset that a second letter hasn't been sent
This film had all the ingredients to be a really nice film (i.e. Audrey Tautou), but as it progresses any trace of innocence is stripped away layer by layer. By the time we reach the end, the lies being told have nothing remotely "beautiful" about them. They're just cruel and twisted.
First impressions can be deceiving.
So far, so good.
One day, Emilie receives a romantic letter from co-worker Jean (don't get excited, Jean is a guy's name in France). However, as the letter is sent anonymously, Emilie bins it, assuming it to be from some crazy old customer.
A little later, Emilie realises that her mother is very depressed about her love life, which will only be made worse when she finds out her father is planning to remarry. And so, Emilie innocently decides to pass on the love letter to her mother to cheer her up
obviously nothing could possibly go wrong. Until her mother gets upset that a second letter hasn't been sent
This film had all the ingredients to be a really nice film (i.e. Audrey Tautou), but as it progresses any trace of innocence is stripped away layer by layer. By the time we reach the end, the lies being told have nothing remotely "beautiful" about them. They're just cruel and twisted.
First impressions can be deceiving.
Amusing and beautiful
sergelamarche17 December 2021
Disappointing
dirtphelia1 March 2013
Warning: Spoilers
Either I'm getting smarter or movies are getting dumber. I love Audrey Tatou and was really looking forward to watching another of her movies but this one was just not really...there. I couldn't even finish watching it.
I thought it was original and interesting to have Jean be a burnout doing handy work but the res to the movie, well, I just couldn't really believe it. Emilie's mother follows Jean, rather closely, all the way from her house to the salon and the guy doesn't turn around even once. Her hair is disheveled, she's in a nighty and she's wearing no shoes, and yet nobody stares, not even a single glance. That simply does not happen in France.
A few minutes after she walks out of the salon she goes back in and all the customers who were in the middle of getting their hair cut are suddenly gone. This sort of thing happened too often so I just lost interest.
I thought it was original and interesting to have Jean be a burnout doing handy work but the res to the movie, well, I just couldn't really believe it. Emilie's mother follows Jean, rather closely, all the way from her house to the salon and the guy doesn't turn around even once. Her hair is disheveled, she's in a nighty and she's wearing no shoes, and yet nobody stares, not even a single glance. That simply does not happen in France.
A few minutes after she walks out of the salon she goes back in and all the customers who were in the middle of getting their hair cut are suddenly gone. This sort of thing happened too often so I just lost interest.
Hobbles Along Like A Blind Dog That Has Lost Its Scent
robert-64231 December 2011
Is it a coincidence that Ms. Tautou is named Émilie (sounds like Amélie)? Is it a coincidence that she has the same gamin-tomboy look with her cropped hair as Amelie? Somehow I think it is intentional.
Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.
Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.
The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.
It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.
Alas, where the similarities to Amélie are evident they are the only thing they have in common. Unfortunately one similarity that is glaringly missing is the sheer energy of Ms. Tautou's' former director and mentor, Jean-Pierre Jeunet. Whereas Jeunet is like a brightly illuminated comet hurtling through the sky, Pierre Salvadori's style is more akin to a slow moving iceberg. And that is what the film is - an iceberg.
Nearly all good romantic comedies have some essential ingredients: energy, dynamism, warmth, identifiable characters, quick-fire humour and empathy - think Bridget Jones, Notting Hill et al,. Sadly none of these ingredients are present. Not even the exceptional Nathalie Baye is able to drag this film from the doldrums. It is nothing more than a montage of scenes where very little happens or engages the viewer. Clearly Sami Bouajila did his best but his forte is serious drama and that's where he should stay.
The one shining light in the film is Judith Chemla. With her very expressive face and mannerisms she has a promising future.
It is quite sad that Ms. Tautou has concentrated on 'glamour' films since leaving Jeunet - "Coco Before Channel", "Priceless". At heart she is an exceptional comedy actor. Regretfully Salvadori is not the director who can direct and showcase her talents. Unless she wants to stay on the periphery of French cinema Ms. Tautou needs to ask herself how best can she deploy her many talents.
Superb really refreshing
buddybickford10 February 2012
Not very often a film deserves 10 out of 10. The story is based on a misunderstanding that escalates out of control. Very clever movie absolutely fantastic script direction and acting, a total joy to watch.
At the start a love letter is read out that is incredible and really is truly romantic.
But guys be prepared to feel inadequate when it comes to your romantic side, my wife on hearing the love letter went completely wobbly (so did I but don't tell anyone), but don't worry I think I stunned her later with my own.
'Roses are red violets are blue I love a girl and choogey choogey koo'
Make sure you watch this movie you will love it.
At the start a love letter is read out that is incredible and really is truly romantic.
But guys be prepared to feel inadequate when it comes to your romantic side, my wife on hearing the love letter went completely wobbly (so did I but don't tell anyone), but don't worry I think I stunned her later with my own.
'Roses are red violets are blue I love a girl and choogey choogey koo'
Make sure you watch this movie you will love it.
"Awfulie"
holograf14 September 2016
This movie was an awful attempt to relive the beauty that was the movie "Amelie", ain't happening. Avoid this movie if you are an Amelie fan, all it will do is depress you to see our beloved Amelie 10 years older and trying to relive the glory of the past. OK it's making me write more, sorry to bore you with more text than necessary, but here goes. The plot was OK for about 20 min, though it was sad to see Amelie reborn as a tired worn out character who has had probably gone through 100 boyfriends by this point (this time she is named "emilie"). then it dragged and dragged until the writers found a way out of the mess they had created and just ended the story with a denouement and put us all out of our misery :)
Beautiful
lrobb66 March 2014
This has been my 'favourite movie of all time' since it came out and I've watched it over and over.
Emelie is strong and messed up - just like every woman I know. Perhaps some of the negative reviews come from the fact that she doesn't get her kit off or need rescuing. She does what she does because she thinks it's the best thing to do.
If you've ever been in love and done some really stupid things that make sense at the time but boggle your mind later, you can relate to this movie.
Simply beautiful.
Emelie is strong and messed up - just like every woman I know. Perhaps some of the negative reviews come from the fact that she doesn't get her kit off or need rescuing. She does what she does because she thinks it's the best thing to do.
If you've ever been in love and done some really stupid things that make sense at the time but boggle your mind later, you can relate to this movie.
Simply beautiful.
sitcom with Amelie ... Emilie
dromasca25 June 2020
What could the director of a romantic comedy in 2010 wish more than to have in the cast Nathalie Baye and Audrey Tautou in the roles of a mother and a daughter entangled in a love intrigue that has as its object (or the third tip of the triangle if you want) the same man? Film director Pierre Salvadori (also the co-author of the script) had this opportunity and the result did not live up to my expectations. 'De vrais mensonges' (meaning 'True Lies' although the title chosen for the English version is 'Beautiful Lies', probably to avoid the conflict with the American 'True Lies' featuring Schwarzenegger and Jamie Lee Curtis) manages to be just an acceptable summer comedy in which the best thing is the presence of the two actresses, still leaving the feeling that they are used below their exceptional potential.
The biggest problem of Audrey Tautou's career may be the fact that she realized so early a role unique in beauty and emotion as 'Amélie'. The result was that the scenarios offered later, and sometimes the directions, also tried to emulate that success. To add to the confusion (maybe intentionally) in 'De vrais mensonges' the heroine is called ... Emilie, kind of an Amelie ten years later who tries to do exactly what Amelie did, that is to make everyone around her happy and first of all her mother (Nathalie Baye) traumatized by the fact that her husband (Emilie's father) had left her for a much younger woman. However, Emily neglects herself, including her own feelings. When in the beauty salon she owns she hires a maintenance man who turns out to be much more than that and who secretly falls in love with her, the premises are ripe for a comedy of situations having at the center a triangle of insecure lovers who send each other anonymous letters, lie to each other, suffer and deceive those around them, but especially lie to and deceive themselves.
Acting is up to the expectations. Audrey Tautou continues to mesmerize us with her unique eyes and tangles in the complications created by her own kindness, while Nathalie Baye adds to her record another role as a mature woman who struggles with courage and partial success with age, keeping her beauty and sex appeal. The triangle is completed by Sami Bouajila in the role of Jean, the romantic electrician who also turns out to be a polyglot and the owner of an impressive library. However, the main problem of the film is the schematic approach and the simplistic comic of situations. The idea of the epistolary misunderstanding is an excellent starting point, but what follows does not exceed the level of a television sitcom, and actually not a very successful one. what a pity. This movie could have been much more interesting than it came out.
The biggest problem of Audrey Tautou's career may be the fact that she realized so early a role unique in beauty and emotion as 'Amélie'. The result was that the scenarios offered later, and sometimes the directions, also tried to emulate that success. To add to the confusion (maybe intentionally) in 'De vrais mensonges' the heroine is called ... Emilie, kind of an Amelie ten years later who tries to do exactly what Amelie did, that is to make everyone around her happy and first of all her mother (Nathalie Baye) traumatized by the fact that her husband (Emilie's father) had left her for a much younger woman. However, Emily neglects herself, including her own feelings. When in the beauty salon she owns she hires a maintenance man who turns out to be much more than that and who secretly falls in love with her, the premises are ripe for a comedy of situations having at the center a triangle of insecure lovers who send each other anonymous letters, lie to each other, suffer and deceive those around them, but especially lie to and deceive themselves.
Acting is up to the expectations. Audrey Tautou continues to mesmerize us with her unique eyes and tangles in the complications created by her own kindness, while Nathalie Baye adds to her record another role as a mature woman who struggles with courage and partial success with age, keeping her beauty and sex appeal. The triangle is completed by Sami Bouajila in the role of Jean, the romantic electrician who also turns out to be a polyglot and the owner of an impressive library. However, the main problem of the film is the schematic approach and the simplistic comic of situations. The idea of the epistolary misunderstanding is an excellent starting point, but what follows does not exceed the level of a television sitcom, and actually not a very successful one. what a pity. This movie could have been much more interesting than it came out.
funny and impossible situation
mmunier23 July 2011
As usual I won't try to resume the story since so many have done so and much better I'd put it. But our group of Six, three couples enjoyed it thoroughly. We've seen Audrey Tautou in quite a few movies by now and yes we did laugh a lot and sometimes loud. So if some reviewers want to put it down so be it but I think it should not deter anyone else to be well entertain. I get a little amused when I see some of those critics about the story falling in "very predictable" along other criticism. But I seem to remember in my early years around Paris going to the "Comedie Francaise" with our class, and for a "penny" thus perched on the very top of the theater we would laugh our belly out watching plays like "Tartuffe" sometimes corny to the most and predictable to no end but always very funny. Don't quote me on Moliere's Tartuffe as it is simply one of the play title I just remember. The point these were masters plays and their "farces" were very funny too. Although I'm sure one could just as easily pull them a part. Going back to "Beautiful Lies" (and why this language decided this tittle against the French literal translation " 'Some' True Lies)? I think it sustained a good pace and good timing to let us appreciate the humour. I, perhaps, would have like a more speedy and decisive ending once everyone knew what really had happened - however this really would only apply to the last ten minutes. Don't fear go and see it. It'll take your trouble away for the duration!
A mess, though Tautou's very good
rick_77 June 2012
Warning: Spoilers
When hairdresser Audrey Tautou receives a lyrical, unsigned love letter, she first throws it in the bin, then fishes it out and sends it to her mum, who's in a four-year rut. Mumsy (Nathalie Baye) guesses who wrote it – over-educated handyman Jean (Sami Bouajila) – but not who it was intended for. After unwittingly waiting years for a love triangle featuring a mum and a daughter, I've seen two in two weeks (the other was It's a Date), but this one's no frothy confection; certainly not the Amelie-ish romcom promised by a disingenuous marketing campaign. It starts off cheerily, with an amusing opening 20, but gets lost, becoming a fraught, gloomy romantic drama desperately in need of a lighter touch. As an outwardly harsh businesswoman plagued by loneliness, fear and insecurity, Tautou is excellent, and Bouajila does a good job of articulating his character's predicament, but the film gives the distinct impression of having got out of hand somewhere along the line, with plot developments that simply don't work. Jean is buffeted around by lies in a way that's more bleak than funny. Beautiful Lies is neither enjoyable enough to work as entertainment, nor resonant or believable enough to have value as anything else. The French title actually translates as True Lies – I wonder why they changed that.
The seduction of the (m)other
sandover11 August 2011
Warning: Spoilers
Pierre Salvadori is unfortunately really under-appreciated; he is a master in the class of Lubitch to whom he pays an ever-developing homage, it is just that, and here is my claim why, it is Lubitch crossed with lacanian psychoanalysis. This may seem extravagant, yet hear me out.
In his previous feature, "Priceless", what was really, truly new in the genre of frothy french comedies, to call them that hazy category, is that the seduction usually displayed in a telling french manner, was turned on its head. The french theoretician of seduction Jean Baudrillard has devoted a whole book on this, the most sublime order that dares defy even desire in its heightening of ritual and artifice, to put it in a very abbreviated form.
Yet Salvadori gave a coup to that: in the final spin of "Priceless" he exposed that you can seduce the other after your hesitating partner asked you so, and this is a proof of love; but this does not work the other way round. This is a great, dialectic demonstration of love. For me, it made me wonder, after such an achievement where would Salvadori go, for after such a score it is difficult to avoid artistic regression.
Nothing to worry about, "Some True Lies" are here, giving us the next spin in the spiral, that is in order to love one has to seduce the other, but how literally is one to take this? Do I have to literally seduce your mother, the other par excellence, in order to get through to you? The cast is excellent (even though I think Tautou has slightly misconceived the tone she has to strike for her role), especially in the light of the excellent Bouajila and Bayer; they are truly something, some true actors.
Some complain, or stand halfway to embarrassment that the film lacks class, and smells too much of TV production values; I was a bit shocked in the beginning, too, but the film is shockingly economic in a way, but when halfway in the film we witness the theater of shadows (I won't spoil it) this marks true sophistication, for the reason also that after that the film does not shy away from complexity but it is exactly then that the mother emerges in all her real, symbolic, imaginary faces and Bouajila follows the scenario's cue with finesse.
Never vulgar, self-excusing or indulging, gracefully simple and cutting, this is a true achievement. I watched it twice in a row, fascinated by its crystal clear structure and magisterial, even haughty in the final chapter, rhythm, that risks go unperceived. The end, with its fake abruptness (which was a true celebration of the image of the mother cut loose at last), and the closing credits with its peculiar evocation of high-school french series from the nineties, verified in a way that this is a film we may have to catch up with in subtle departments.
Thank you, monsieur Salvadori et merci.
In his previous feature, "Priceless", what was really, truly new in the genre of frothy french comedies, to call them that hazy category, is that the seduction usually displayed in a telling french manner, was turned on its head. The french theoretician of seduction Jean Baudrillard has devoted a whole book on this, the most sublime order that dares defy even desire in its heightening of ritual and artifice, to put it in a very abbreviated form.
Yet Salvadori gave a coup to that: in the final spin of "Priceless" he exposed that you can seduce the other after your hesitating partner asked you so, and this is a proof of love; but this does not work the other way round. This is a great, dialectic demonstration of love. For me, it made me wonder, after such an achievement where would Salvadori go, for after such a score it is difficult to avoid artistic regression.
Nothing to worry about, "Some True Lies" are here, giving us the next spin in the spiral, that is in order to love one has to seduce the other, but how literally is one to take this? Do I have to literally seduce your mother, the other par excellence, in order to get through to you? The cast is excellent (even though I think Tautou has slightly misconceived the tone she has to strike for her role), especially in the light of the excellent Bouajila and Bayer; they are truly something, some true actors.
Some complain, or stand halfway to embarrassment that the film lacks class, and smells too much of TV production values; I was a bit shocked in the beginning, too, but the film is shockingly economic in a way, but when halfway in the film we witness the theater of shadows (I won't spoil it) this marks true sophistication, for the reason also that after that the film does not shy away from complexity but it is exactly then that the mother emerges in all her real, symbolic, imaginary faces and Bouajila follows the scenario's cue with finesse.
Never vulgar, self-excusing or indulging, gracefully simple and cutting, this is a true achievement. I watched it twice in a row, fascinated by its crystal clear structure and magisterial, even haughty in the final chapter, rhythm, that risks go unperceived. The end, with its fake abruptness (which was a true celebration of the image of the mother cut loose at last), and the closing credits with its peculiar evocation of high-school french series from the nineties, verified in a way that this is a film we may have to catch up with in subtle departments.
Thank you, monsieur Salvadori et merci.
Amelie, Emilie, What's The Difference
writers_reign13 August 2011
Warning: Spoilers
Pierre Salvadori is too good a writer director to have to 'steal' from others but alas that's what's happened here - to a certain extent. Back in 1999 Tonie Marshall wrote and directed Venus Beaute' which centred on the Beauty Salon of the title and three of its employees, all looking for, rejecting and/or finding love. Nathalie Baye had the lion's share of screen time as the senior of the three employees, the other two being Mathilde Sagnier and a young actress who had caught Marshall's eye, Audrey Tautou, whom she cast as the youngest of the three. The film picked up several awards including no less than three Cesars (the French Oscars) for Best Film, Best Director, and Best Newcomer, Tautou. Now, eleven years later Salvadori casts Tautou as the owner of a hairdressing salon anxious to secure a love life for her mother, none other than Nathalie Baye. Technically Salvadori made two mistakes because Baye walks away with the picture from under the nose of the 'star' Tautou. To be fair Baye is one of the finest French actresses of her generation and has walked away with more pictures than Tautou has appeared in. Salvadori, of course, worked with Tautou on Hord de Prix (Priceless outside France) which scored at the box office despite a dubious premise which it really needed Billy Wilder to get away with. This time around Tautou is noticeably losing the bloom of youth which has been her stock in trade for so long - as well she might at 35 - and appears to be straining at times to look cute. On the other hand plots like this - mistaken identity involving romance - are mere finger exercises for French movie makers so there is a certain amount of charm and skill on display but the best thing about it by a country kilometre is Baye.
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