6.5/10
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5 user 14 critic

My Man (1996)

Mon homme (original title)
Unrated | | Comedy, Drama, Romance | 15 August 1997 (USA)
In Lyon, where many are unemployed, Marie is a prostitute who loves her work: she's thoughtful and exuberant toward clients old and young, slim or flabby. One night, a homeless man sleeps ... See full summary »

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1 win & 3 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Marie Abarth
...
Jeannot
...
Sanguine
...
Jean-François
Dominique Valadié ...
Gilberte
...
2nd Client
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3rd Client: Armoire
Robert Hirsch ...
M. Hervé
Bernard Fresson ...
Personnel Director
...
4th Client
...
Gilbert's Client
Bernard Le Coq ...
Inspecteur Marvier
Jean-Philippe Écoffey
Daniel Colas
Erick Desmarestz
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Storyline

In Lyon, where many are unemployed, Marie is a prostitute who loves her work: she's thoughtful and exuberant toward clients old and young, slim or flabby. One night, a homeless man sleeps in the foyer of her apartment house; she gives him a hot meal, then a place on the floor to sleep by her radiator, then she offers herself. She falls in love, giving him new life, clothes, a place to live. When he grouses that he must bar hop while she uses the flat for her work, she finds them a larger flat. He grows restless, seducing a manicurist and pressing her to prostitution. He's arrested for procuring, so Marie must decide what to do; he, too, must face the consequences of his choices. Written by <jhailey@hotmail.com>

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Genres:

Comedy | Drama | Romance

Certificate:

Unrated | See all certifications »

Parents Guide:

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Details

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Release Date:

15 August 1997 (USA)  »

Also Known As:

My Man  »

Company Credits

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Aspect Ratio:

2.35 : 1
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Did You Know?

Quotes

Jeannot: It is said that a pimp doesn't work. But he does: he bangs.
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User Reviews

 
Ultimately quite a moving meditation on the loneliness of sexual predetermination
29 September 1999 | by (toronto) – See all my reviews

A strangely structured film which ultimately makes for a quite moving meditation on the loneliness of sexual predetermination. The characters reach out in random lurching stabs at love - she impulsively invites the homeless man to be her pimp and later picks out someone in a bar to be the father of her child; when the pimp leaves jail he's instantly met by a woman who's been waiting for a convict to befriend, and so on. The closing note of male contrition could be taken as a pallid attempt to redress the balance of a film that often seems to enjoy the advantages for the male ego of freely offered female desire, and yet the remorse is real and touching. The movie expands the theme to encompass economic and social impotence - particularly in the wrenching scene where the husband can't get work and loses it. The note of proud possession in the title of a film that ultimately finds only loss and compromise is ultimately ironic I think, as much as the overblown Barry White score, grabbing boldly at sweeping gestures and passions which we all know to be generally unattainable. The gleaming visuals, often shot from a composed distance, give it the slightly metallic sheen of science fiction: in some scenes the crowd moves like a mechanical construction, powered by a single desultory consciousness.


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