A tenderhearted romantic comedy with a great plot twist that doesn’t shy away from the sharp edge of love
Relative newcomer writer/director/lead Emmanuel Mouret has come up with a sweet and simple story in the romantic comedy “Shall We Kiss.” Said to be a combination of cautionary talester Eric Rohmer and critical romanticist Woody Allen Mouret uses a flashback combination of two romantic stories to describe how even a single kiss can have unintended consequences.
OK, actually the consequences of the kisses in this film are very much intended. The actors are as sexy as French actors can be and there is a marvelous screen chemistry that vibrates right off the screen. The story begins with visiting textile designer Emilie (Julie Gayet) asking Gabriel (Michael Cohen) for directions in Nantes. The two are obviously attracted to each other, although Emilie is reserved about their interaction. Of course, this makes her all the more desirable (as if she needed any help). It also sets the stage for her story, which is the flashback explanation about why two persons, although attracted, should be careful about whom they kiss.
Thus the film is two stories happening at the same time. The story in the foreground is about whether or not Emilie and Gabriel will conclude their chance meeting with the sexual bonding their looks and voices suggest. The story in Emilie’s past explains why she is reticent to engage in a love affair with the handsome and charming Gabriel. The story involves her soul mate Claudio (Stefano Accorsi) and his previous experiences with the fickle nature of love.
That story involves lab researcher Judith (Virginie Ledoyen) who is the best friend of math teacher Nicolas (Mouret). Both of them are involved with partners who love them dearly although something is missing in the relationships. They devise a plot to get their two partners together so as to free themselves for the love that is rapidly growing out of control between them. The plot, of course, goes awry with an all to human humor that is as sharp edged as it is realistic. Most of us have been there before.
The sound track of the film is mostly very tasteful classical derivations with the occasional sophisticated jazz percussion piece as the temperature of the couples on screen reaches critical mass. Mouret works with cinematographer Laurent Desmet against plain backgrounds. The backgrounds echo trendy minimalism as might be associated with the understated but extremely desirable interior designer Emilie and the eminently stylish art specialist Gabriel. Many of the scenes revolve around an intentionally lop-sided frame with one person on one side who is joined by the balancing love interest on the other side. Mouret likes to put flowers in back of the women. Behind the men? A toucan---the ultimate symbol of the male organ fated to be out of control by its own mandate of procreation.
Using simple backgrounds offset by classical strings and harps with the occasional romantic pratfall provides a relaxing but funny context for what could have been a very heartbreaking story. As the film progresses and love turns out to be anything but simple, the backgrounds become light and dark with sharp lines that do not allow the fuzziness of the emotions. The intent may have been benign but the hurt is just as real in any case. The lovely balanced frames give way to Bergmanesque editing from one person back to the other, with the frequency increasing as the tension increased between them. The light and dark echo the two-faced nature of the deceptive lover.
If Mouret is a combination of Woody Allen and Eric Rohmer this film not only veers toward Rohmer but has a few moments that are almost scary. Mouret is not a comedian in the American sense but then it is unfair to compare anybody to Woody Allen in that regard. But when it comes to expressing love on the screen the tables are turned. The French have a word for it and Americans are still searching.
An enjoyable, tender and tasteful romantic film. Very adult in its appeal but with lessons that never grow old with time.
Release: March 27, 2009
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