Populaire (2012); romantic comedy film review

French film poster artwork for the romantic comedy film Populaire.

Pastiche Pygmalion Parody by Linh

Populaire is a delightful and charming rom-com (romantic comedy) that only the French can create without the predictability and spoon-feeding aspects of this genre that are often seen in most American contemporary rom-com films. An impressive aspect of this film is the blending of pastiche in imitating the era of the 1950s and the parody of the Pygmalion myth. Populaire uses various references from the American television series Mad Men and the light-hearted American rom-com films of the 1950s such as the style of dress and the attitudes regarding gender roles and expectations. In parodying the Pygmalion myth, Populaire cleverly uses humour and characterisation to depict the “coming to life or awakening” of an independent and strong-willed woman under the guidance of a competitive and suave man.

WORKPLACE WINNER: Rose (Déborah François) excels in all secretarial tasks for her boss Louis (Romain Duris) in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

Populaire is set during 1958-1959 in the small town of Normandy in France, where a young woman named Rose Pamphyle (Déborah François), who lives with her widowed father Jean (Frédéric Pierrot), is soon to be engaged to the local mechanic’s son. Rose is adamant she will not marry and plans to seek a job instead. One day she takes the typewriter in her father’s shop, inserts a sheet of paper and types her name using her two index fingers. A few months later, Rose travels to Lisieux to apply for a job as a secretary at Echard and Sons Insurance company, where she meets the owner Louis Echard (Romain Duris). He dismisses her based on lack of experience, but she promptly shows him she has speed and accuracy in typing despite using only her two index fingers. Louis is impressed and strikes a deal with Rose that he will only employ her if she agrees to compete in a series of speed typing competitions. Rose agrees to Louis’s terms and conditions in order to get the job as secretary, resulting in humourous moments including speed and touch typing training using all her fingers, physical training sessions, piano playing with Marie (Bérénice Bejo) to keep her fingers flexible and an unexpected meeting with Louis’s family.

TENACIOUS TYPIST: Louis (Romain Duris) times Rose (Déborah François) as she practises her speed typing in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

A study of the film’s poster design gives hints at the themes and metaphors present in Populaire that relate to gender and competition. Regarding gender in the workplace, Rose is standing behind Louis which suggests that the secret behind a businessman’s success is his secretary. In the film, Louis was a former boxer and athlete who was unable to achieve national and international success and is haunted by his days as a member of the French Resistance during World War II. With his strict regimental training for Rose to win speed typing competitions, he can share in her success and experience the sense of being a champion again.

Another gender-related reading of this poster is the positioning of subjects/objects in the frame; the typewriter represents female success and independence in the workplace yet there is a man between it and the female typist. This may suggest that the only thing that stands between a woman and her pathway upwards to success in the workplace is misogyny or sexism, as the male is seen as representing patriarchy.

TWO-FINGERED TYPIST: Rose (Déborah François) competes for the first time in the local speed typing competition in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

The pastiche of Populaire closely resembles the set, wardrobe and era of the television series Mad Men, particularly in the office scenes depicting Louis and Rose at work and in training for the speed typing competitions. The gender politics in Populaire become apparent in the parodying of the Pygmalion myth adapted from a play by George Bernard Shaw whereby, instead of polishing up on the spoken word, Rose is required to speed up the written word using a typewriter. Therefore, Rose is transformed into a modern working woman through training to be a super-fast typist who gains the adoration of the public and respect from Louis. The typewriter is a central character in the film, as it is seen in almost every scene, mostly as a supporting character to the typist.

SPORTING STAMINA: Louis (Romain Duris) trains Rose (Déborah François) to develop strength and stamina as part of her speed typing training in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

Typists were typically female with secretaries being one of the highest paid and sought-after jobs for women in the post-war era, however the film depicts typing as not only for work but also as a sport. This is a contentious aspect of the film suggesting that not only do women compete against other women for a man, they also compete against other women for work and in sport. Some critics may argue that men also compete with other men in love, work and sport so what is the issue? The issue is that in a patriarchy society, women are not only competing with other women, they are competing in male-dominated and male-controlled arenas. In the film, every aspect of Rose’s typing training and work schedule is controlled by her boss Louis. Rose is not given any opportunities to contribute ideas or suggestions. In the competition arena, Rose may be competing with other women, but it also an arena controlled by men. Populaire cleverly uses metaphors to parody and modernise Bernard Shaw’s Pygmalion depicting gender bias in the workplace, which is still prevalent in the twenty first century.

FLEXIBLE FINGERS: Marie (Bérénice Bejo) teaches Rose (Déborah François) to play the piano to help keep her fingers supple for speed typing competitions in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

The cast for Populaire is excellent and Déborah François (The Page Turner, Maestro) is brilliant as Rose in her transformation from a shy, small-town and two-finger typist to an international speed typing winner; Romain Duris (Mood Indigo, Chinese Puzzle) is smooth talking and suave as the male chauvinist boss Louis wearing similar style business attire as Don Draper from Mad Men; Bérénice Bejo (The Artist, The Past) is lovely as Marie Taylor, who looks glamourous and seductive even as a housewife who teaches piano in her home. She is Louis’s former lover who married his best friend Bob due to Louis’s lack of commitment to their relationship; Shaun Benson (The Metrosexual, Le Beau Risque) is delightful as Bob Taylor, the comic relief and Louis’s best friend who takes a keen interest in Louis’s plan to train Rose for competitions.

WINNERS WALTZ: Louis (Romain Duris) and Rose (Déborah François) dance at a dinner party after a successful day at the local speed typing trials
in the romantic comedy film Populaire. Image: Wild Bunch, The Weinstein Company.

Populaire is a sparkling romantic comedy gem that appeals to those who enjoy gender issues served up in a light-hearted manner as only French rom-com films can deliver. The brightly coloured production designs, the retro clothing, hairstyles and the wonderful performances make this film a nostalgic look at the past that reminds viewers how women have progressed and achieved so much since the 1950s, albeit with a little help from some men and technology.

Director: Régis Roinsard

Writers: Régis Roinsard, Romain Compingt, Daniel Presley

Cast: Romain Duris, Déborah François, Bérénice Bejo, Shaun Benson, Mélanie Bernier, Féodor Atkine, Nicholas Bedos, Eddy Mitchell, Miou- Miou, Jeanne Cohendy, Caroline Tillette, Frédéric Pierrot, Marius Colucci, Emeline Bayart, Yannik Landrein, Natassja Girard, Dominique Reymond, Hugo De Sousa

Producers: Gaëtan David, Alain Attal, André Logie, Xavier Amblard

Original Music Composer: Emmanuel D’Orlando, Robin Coudert

Cinematographer: Guillaume Schiffman

Film Editors: Sophie Reine, Laure Gardette

Production: Sylvie Olivé (Production Designer), Jimena Esteve (Set Decorator)

Costume Designer: Charlotte David

Languages: French, English and German with English subtitles

Running Time: 1 hour and 50 minutes

The Cherry On The Cake / La Cerise Sur Le Gâteau (2012); romance drama film review

French poster artwork for the romance drama film The Cherry On The Cake (La Cerise Sur Le Gâteau).

Fleeting Feelings by Linh

The Cherry On The Cake /La Cerise Sur Le Gâteau is actor/writer Laura Morante’s directorial debut and although it is advertised as a rom-com (romantic comedy), it actually seems like a parody of the typical American rom-com. This film has the best elements of a Woody Allen rom-com and similar wit and dialogue seen in Nora Ephron films. Morante has added a darker tone to the narrative in her rom-com that deals with psychoanalysis and gender relations in romantic relationships being central to the storyline. This makes the film appear to have more substance but the style remains typically of the rom-com genre.

CHOICE CHERRY: Amanda (Laura Morante) wants the cherry on the cake but her partner Bertrand (Frédéric Pierrot) is also keen for the cherry in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

Throughout the film, love never runs smoothly or ends happily for protagonist Amanda (Morante), who believes that she suffers from androphobia, which is a type of anxiety disorder and an irrational fear of men. This is not to be confused with misandry, the hatred of men, as Amanda appears to love men and be fond of all her former male lovers. Amanda has a tendency to end relationships whenever things become too comfortable and serious by finding the most inane and tiniest of reasons to dump her lover. She dumps her current partner Bertrand (Frédéric Pierrot) as they are celebrating their anniversary at a restaurant after he eats the only cherry on the cake without first offering it her. 

When her friend Florence (Isabelle Carré) hears of Amanda’s breakup, she suggests they go to a New Year’s Eve party her office colleagues are organising. Florence tells Amanda that all the men from her office are heterosexual except for one. At the office party, Amanda meets Antoine (Pascal Elbé) and is immediately attracted to him. Florence is thrilled until she realises Amanda is only comfortable with Antoine because she mistakenly believes he is gay. Florence and her husband Hubert (Patrice Thibaud), the psychoanalyst, devise a plan to exploit that misperception until Antoine, who has fallen for Amanda, becomes so important to her that he can reveal his love without fearing she’ll end their close friendship.

ANDROPHOBIC ACT: Amanda (Laura Morante) tells Florence (Isabelle Carré) about her break up with long-time partner Bertrand (Frédéric Pierrot) in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

The film’s title is apt as it not only marks the reason for Amanda’s recent breakup, but the concept of a “cherry on top” indicates something wonderful coming after something that is already considered to be good. Antoine is likely to be the best lover Amanda will have in a long time, but her belief of his homosexuality makes him an innocuous “friend” so she feels comfortable being with him. However, Antoine can also feel safe in the fact that he does not have to tell Amanda the truth that he is heterosexual and still be romantically involved with her. This situation raises problems for Antoine as he needs to perform and behave as if he is gay in order to keep Amanda interested in him, until the time comes when she is so in love in with him that he can reveal the truth. Perhaps the truth from Antoine is the “cherry on the cake” for Amanda?

PLAUSIBLE PLAN: Florence (Isabelle Carré) and her husband Hubert (Patrice Thibaud) plan to exploit Amanda's misperception of Antoine's sexuality to help her overcome androphobia in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

Amanda’s perspective in the film may support French philosopher Jean-Paul Sartre’s ideas that romantic relationships are extremely hard to sustain and may not even be worth the trouble anyway. However, Sartre’s idea is also opposed because despite Amanda’s unusual phobia that is keeping her single, her friend Florence has been happily married to Hubert for fifteen years with an adopted daughter, Noémie (Loucille Clément), so the effort may be worth it in the long term even though challenges in relationships arise frequently. 

AMOROUS ATTRACTION: Antoine (Pascal Elbé) and Amanda (Laura Morante) arrange to meet again after the New Year's Eve party in the film [The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

 

In the film, the character of Amanda defies many of Hollywood’s typical romantic heroines in relation to her age, being an unbearable androphobic and the subject matter of sexuality is dealt with more consideration than the formulaic Hollywood rom-com would tackle it. This film parodies the sentimentality of rom-coms and pokes fun at Hollywood rom-coms by reproducing particular clichéd romantic scenes but placing them in the arthouse vein, such as couples walking together in the park, couples sitting beside a warm fireplace, cherry blossoms on the trees and the petals being blown around by a cool breeze etc.

ASSESSING ANTOINE: Amanda (Laura Morante) and Florence (Isabelle Carré) discuss Antoine's sexuality in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

Morante (A Farewell To Fools, Romeo and Juliet) gives a strong performance as Amanda, the editor of a book publisher, who is an affable woman despite being annoying, complaining constantly and is overly protective of her emotions and guarding herself from heartbreak; Isabelle Carré (The Day Of the Crows, Looking For Hortense) is wonderful as the warm-hearted and compassionate friend Florence; looking nothing like the typical gay man stereotype he is perceived to be in the film, Pascal Elbé (The Other Son, Piégé) is rugged, conservatively dressed and stoic as Amanda’s love interest, Antoine; Samir Guesmi (Camille Rewinds, Granny’s Funeral) is hilarious in his scenes as Maxime, the only gay man in Florence’s office, while pretending to be Antoine’s gay lover; and Patrice Thibaud as Hubert the psychoanalyst, has the best one-liners as he and his wife Florence analyse the budding romance between Amanda and Antoine, while convinced their plan will help Amanda overcome her androphobia.

DINNER DATE: Antoine (Pascal Elbé) and Amanda (Laura Morante) enjoy their first dinner together in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

The Cherry On The Cake is a good-humoured and warm romantic farce about relationships, romantic illusions and happiness. The plot may be implausible at times, but the character interactions and the clever dialogue make this a fine directorial debut for Morante and she is gorgeous as the leading lady in the film. Hollywood might attempt to remake this film as an American rom-com, but judging by the failures of previous remakes such as Dinner For Schmucks that starred Steve Carell and LOL which starred Miley Cyrus, it would be difficult to improve on the original French version.

GAY GUISE: Maxime (Samir Guesmi) poses as Antoine's (Pascal Elbé) gay partner in the film The Cherry On The Cake (La Cerise Sur Le Gâteau). Image: Nuts and Bolts Production.

Director: Laura Morante

Writers: Laura Morante (screenplay), Daniele Constantini (screenplay)

Cast: Laura Morante, Pascal Elbé, Isabelle Carré, Samir Guesmi, Ennio Fantastichini, Patrice Thibaud, Frédéric Pierrot, Vanessa Larrè, Yves Verhoeven, Loucille Clément, Nadia Fossier, Georges Claisse, Sophie-Charlotte Husson, Emmanuelle Galabru

Producers: Francesco Giammatteo, Bruno Pésery

Cinematographer:  Maurizio Calvesi (Director of Photography)

Original Music Composer: Nicola Piovani

Film Editor: Esmeralda Calabria

Production: Pierre-François Limbosch (Production Designer), Geraldine Laferte (Set Decorator)

Costume Designer: Agata Cannizzaro

Languages: French with English subtitles, and English

Running Time: 1 hour and 23 minutes