With his vitriolic pen, Désiré Loncle, does not make the life of filmmakers easy. But chickens come home to roost, don't they? As a matter of fact, Désiré gets his due punishment when Manu,... See full summary »
With his vitriolic pen, Désiré Loncle, does not make the life of filmmakers easy. But chickens come home to roost, don't they? As a matter of fact, Désiré gets his due punishment when Manu, his girlfriend, kicks him out of home. At a loss, he finds refuge with Alex, a young actor. He is soon joined by Eduardo, an Italian producer, dumped like him by his wife. While Désiré tries to rebuild himself, the three men decide to write a film script that will be the basis of a vehicle for Alex. Written by
What is a French film critic? How does such a creature function? What makes them crave all that is abstruse, trash, immoral or pretentious and reject anything the general public cares for? Denis Parent, the first (and last)-time director of "Rien que du bonheur" seemed to be the ideal person to answer these questions since he is a film critic himself (for Studio Magazine). But, shame on him, the portrayal he makes of Désiré Loncle, a reviewer for the fictitious "Sunlight Magazine", leaves very much to be desired. Désiré (although satisfactorily played by Bruno Solo) is nothing but a living caricature, which is unforgivable coming from someone like Parent, who knows the job like the back of his hand. Of course there are a few amusing digs, obviously based on real-life experience (for instance, the difficulty for a popular film magazine like "Première" or "Studio" to retain their freedom of expression while at the same time winning the support of major film companies ; the chores of interviewing for promotion actors or directors who have nothing interesting to say, etc. ). But, on the whole, the approach is much too superficial to be convincing, or at least informative. Indeed the fact that NOTHING finds favor in Désiré's eyes is definitely not believable. Everybody knows - even a French film critic - there is nothing like a one-dimensional person. Critics have enthusiasms, fancies, authors they support doggedly. One can agree or disagree with their choices, but can anyone really name ONE critic, however sharp-tongued they might be, who DISLIKES EVERYTHING? There is not much else to get your teeth into : the romantic comedy aspect (Désiré, in his off days after being dumped by his ex, tries to find a new mate) is absolutely charmless while the creative side (Désiré and two friends write a screenplay) is outright ridiculous. The only good point lies in the acting: Bruno Solo, Alexandra Lamy, Barbara Schultz and an extravagant Geneviève Page (as Désiré's stifling mother), help going through this boring film without too much damage.
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