Pas sur la bouche (2003) - film review

Paris, 1925.  Wealthy businessman Georges Valandray is certain of his wife’s fidelity since, he believes, he was the first man in her life.  Unbeknown to him, however, his wife Gilberte has been previously married, to an American Eric Thomson.  The secret, known only to Gilberte’s sister Arlette, is safe – until the day when Mr Thomson arrives at the family home to conclude a business deal with Georges.  To complicate matters, Gilberte has an ardent admirer in Charley, a passionate young artist, who is in turn loved to distraction by the debutante Huguette.   The Valandray household is in for a tempestuous time when Mr Thomson decides he wants Gilberte back at any price…

How strange that one of the great innovators of French cinema, Alain Resnais, should spend the twilight years of his career making musical comedies.  Pas sur las bouche is a straight film adaptation of a largely forgotten French operetta from the 1920s and presumably hopes to capitalise on the success of Resnais’ previous musical offering, On connaît la chanson (1997).  Whilst it is a cheerful and largely entertaining affair, this latest creation of Alain Resnais seems to lack something, perhaps a touch of irony, or that sparkle of originality which illuminates his previous works.  It is easy to enjoy this film, but in so doing, you can’t help feeling more than a little guilty.  Surely there is more to it than just a mindless piece of escapist fun?  It seems a bit like Ken Loach deciding to direct an episode of ’Allo ’Allo…

In its favour, Pas sur la bouche has an excellent cast, which includes such classy lasses as Sabine Azéma and Audrey Tautou, seasoned actors Lambert Wilson, Daniel Prévost and Pierre Arditi, and rising talent in the form of Jalil Lespert.  Veteran comic performer Darry Cowl makes a small but magnificent cameo as a Widow Twankey-like concierge, but it is Isabelle Nanty who appears most at ease with the musical format.   It may not be the greatest musical every written but they all throw themselves into it with an enthusiasm which makes the film – an eccentric homage to 1920s kitsch – more enjoyable than it perhaps deserves to be.  Heaven alone knows what motivated Resnais to make this film, but it does make a pleasing counterpoint to some of his more challenging, experimental works.

© James Travers 2006

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