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HE LOVES ME...
HE LOVES ME NOT

"Audrey Tautou - More Beautiful Than Any Rose!"
Directed by Laetitia Colombani - Written by Laetitia Colombani, Caroline Thivel
Starring Audrey Tatou, Samuel Le Bihan
Distributed by IDP - 2002 - 92mins - Rated PG13

TC Candler's Review

A-

Two Perspectives, One Reality...

This French thriller is either a story of a secret love affair or a torrid case of obsession and stalking... it really depends on which of the two characters you believe. You see, the film unspools in two parts with vastly different points of view. Angelique (Tautou) is a gorgeous young French girl who is smitten with a handsome and suave doctor. Unfortunately, he is married and they have to conduct their affair clandestinely with every spare moment they get. Loic (Le Bihan) is a successful and happily married doctor who is unaware of Angelique's true feelings and finds himself being constantly bothered by her overbearing intentions.

We watch both sides of the story, one of which gathers more credibility as the film drifts toward it's clever conclusion. This wonderful French import is part 'Amelie', part 'Fatal Attraction', part 'Rashomon'.

HLMHLMN is a stunningly picturesque movie. Beautiful faces, colorful roses, a perfect cityscape and lighting that accentuates them all, makes this one of the most beautiful films of the decade. This film takes great pleasure in highlighting beauty... especially that of the resplendent Audrey Tautou.

While aesthetically perfect, the film does have trouble with the narrative. I felt like I had all the answers a little too soon. I think the mystery is somewhat predictable and makes the second half of the film slightly tedious as we trudge toward the inevitable. But it is such a smart film and is so much fun to watch that I had an easy time forgiving some flaws.

I will definitely add this to my DVD collection, as I believe that it will hold up in multiple viewings.

© Written by TC Candler

How We Rated This Film

TC Candler -

A-
Richard Propes - B
Jacob Hall -    

Richard Propes' Comment

n/a

Jacob Hall's Comment

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