A bestselling crime novelist who is desperately looking for a new story hones his focus on the apparent suicide of a small-town woman, an aspiring model who thought she was the reincarnation of Marilyn Monroe.
When her husband is taken hostage by his striking employees, a trophy wife (Deneuve) takes the reins of the family business and proves to be a remarkably effective leader. Business and ... See full summary »
After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
David O. Russell
Robert De Niro
As his lover announces her pregnancy, a fortysomething slacker receives other life-changing news: 142 people, all of them the result of artificial insemination, have filed a class action lawsuit against him, their biological father.
"Rousseau" is a Parisian bestselling crime novelist, working on a new novel but desperately looking for a good story. "Candice Lecoeur" is a young, attractive, and vibrant woman who thinks she is the reincarnation of Marilyn Monroe. But Candice is living far away from the city. Born in a remote area of France, she manages to become a model for the small cheese factory based in the area. She becomes a star; but only a local one. The two will meet but only after Candice has been found dead. Cause of death: suicide by sleeping pills. Rousseau is the only one who doesn't buy it and who wants to know the true cause of her death. In his search for the truth, he will be confronted with many difficulties: becoming a detective-novelist and getting respect from the locals, and going beyond what some people want to keep secret forever. Written by
The Helen Kane/Boop Boop a Doop connection is significant. An even more evident tie-in is that Marilyn sings this song in _Some Like It Hot_. See more »
The dates listed in the diary entries are consistently wrong. For example, November 20, 1999, was not a Tuesday (it was a Saturday), and October 13, 2001, was not a Thursday (it was also a Saturday.) See more »
A young female local celebrity dies in the "no man's land" of a small French town. David Rousseau (Jean-Paul Rouve), a bestselling crime novelist who happens to be in the area doesn't believe the reports that her death was a suicide, and so he begins his own investigation. He struggles with the police while learning that Martine Langevin's (Sophie Quinton) life wasn't as wonderful as everyone thought, or nearly as simple.
Nobody Else But You starts off in a familiar place and unfortunately it doesn't ever move far away from there. As Rousseau unravels the life of Langevin he discovers a strange obsession she had with Marilyn Monroe that extends beyond simple admiration, but that one strand alone isn't enough to really make Gerald Hustache-Mathieu's film stand out. It certainly doesn't help that Hustache-Mathieu never seems to be able to find a square footing in terms of the tone that he is hoping to achieve here.
There's a constant blend of dark humor and more serious thriller elements, but they never mesh well together and so the comedic moments don't sell as well as they could and there's never the slightest amount of dramatic tension. I think my biggest problem here was just a straight lack of interest on any front. The characters were too flat to work, there's a flashback structure detailing Langevin's life through her diaries which is interesting at first as we see her narrating from beyond the grave but is abandoned relatively quickly in favor of a more traditional presentation that doesn't work nearly as well and on top of it all I can't say I ever really cared about figuring out what happened to her.
Hustache-Mathieu is clearly influenced by David Lynch and the Coen brothers here, with the setting and tone he's aiming for being an obvious attempt at mixing Twin Peaks with Fargo, but he doesn't have the skill to pull off any of it on his own footing. Nobody Else But You is so rooted in its adoration and many references to American culture, from the Monroe aspect and those influences to the constant statement that Rousseau wants to be like James Ellroy, that Hustache-Mathieu is never able to give his film its own identity.
The film doesn't stand out at all because it doesn't seem to even know what it is. You get a clear idea of what it wants to be, but it feels like the writer/director was more focused on trying to be all of those things instead of letting his work naturally become itself. A major disappointment.
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