Ma vie en rose (1997)

Ma vie en rose is a French film comedy-drama first released in 1997, directed by Alain Berliner.  The film stars Michèle Laroque, Jean-Philippe Écoffey, Hélène Vincent, Georges Du Fresne and Daniel Hanssens.  It has also been released under the title: Ma Vie En Rose.  Our overall rating for this film is: good.


The Fabre family moves into a new house in a respectable middle-class area.  During a house-warming party, the youngest son, seven-year old Ludovic makes a grand entrance in a dress, make-up and jewellery.  His parents are furious, the neighbours are shocked, but the incident passes.  Then Ludovic develops a crush on Jérôme, the son of his father’s employer.  When the two boys stage a fake marriage, with Ludovic appearing in the dress of Jérôme’s dead sister, his parents decide that the matter has gone too far and are determined to cure him of his obsession.  But Ludovic remains convinced that he will be a girl when he grows up...



Although it has a serious side, Ma vie en rose is first and foremost a spell-binding and entertaining satirical comedy.  It is a captivating study of a young boy’s inability to turn from his own natural inclination and conform to polite societies’ notion of normality.

Although he is the outsider right from the start, the young Ludovic immediately endears himself to us (due in no small measure to an impressive performance from the young Georges du Fresne).  Through his eyes, we see how ridiculous those around him are, with their petty prejudices and pitiful lack of generosity.  The film does not dwell on whether Ludovic is gay or trans-sexual, and to a large extent the two are merged.  All that we know is that he is different, that he is conscious of the fact, and that no amount of bullying and persuasion will alter the fact.

Ludovic’s self-awareness is fed by dreams of his idol, a stunningly beautiful television character Pam who flies and lives in a psychedelic confectionery world – and it is this surreal blending of fantasy and reality which gives the film its unique feel and makes it so memorable.   These sugar-coated childish flights of fancy are soon overwhelmed by the grim reality of Ludovic’s predicament when his parents are driven to try to force him to change his ways, quite hopelessly.  This dose of realism alters the film’s tempo without weighing it down and provides the film with its plausible (but not entirely satisfying) upbeat ending.

The film succeeds because it entertains us whilst alerting us to the pain and destruction that intolerance and prejudice can cause.   By rejecting our natural prejudices and embracing the outsider we might experience a better world, although probably not one where impossibly beautiful busty blondes fly above our heads showering us with stardust...?

© James Travers 2000

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