It's interesting that a lot of people in reviews find this movie dedicated to love and difficulties that couples go through in a marriage while psychologies say it's a great movie about a narcissist and his victim. A very representative movie, I say, and definitely not for everyone.
22 Reviews
Excellently played toxic relationship
denis-237917 June 2021
A very unusual love story if love is the right word (fatal attraction?)...very emotionally performed, very relatable...about a woman who has to fight with her lack of self-esteem in the world of money and glamour surrounding her beloved one...while she needs a stable and strong shoulder, he needs his freedoms and emotional ups and downs which drive her literally crazy. Anything but a light-hearted film, but very worthwhile.
Maïwenn's 'Mon Roi': Can't live with, can't live without.
jan-bollen25 October 2015
'Mon Roi' (the film has no international title yet,) is the 4th film by Maïwenn (Le Besco). For years she was known as the girlfriend/wife of Luc Besson. The fact that they had a child when she was hardly 17 years old was spread out over many a tabloid. After her child acting years and break-up with Besson she turned away from acting for some time before returning with a vengeance in the director's chair. As her last 2 films were part of the main selection of the prestigious Cannes Film Festival -which in both cases won a prize- she has made quite a name for herself (in recent years she usually drops her last name Le Besco).
Her three previous films feature a protagonist using (or hiding behind?) a camera. A documentary camera for the semi- autobiographical 'Pardonnez-moi' (2006) (Forgive Me) and 'Le bal des actrices' (2009) (All About Actresses), a photo camera for 'Polisse' (2011) (Prix du jury). No hiding in this film though, emotions are running amok. The film starts with a skiing accident of the main character Tony (short for Marie-Antoinette) played by Emmanuelle Bercot. It's not exactly clear if it really was an accident or a form of deliberate self harming. A bit in the vein of the famous opening scene of 'Lawrence of Arabia' where it's not exactly clear if the main character had an accident or was committing suicide.
After this opening the movie switches between flashbacks of the meeting and falling in love of Tony and Georgio ( a truly fantastic Vincent Cassel) and scenes of Tony in a rehabilitation center, where her knee injury is being treated. We see Tony being knocked of her socks by the extreme charm and sharp wit of Georgio. There's a nice scene were Georgio is getting rid of Tony's sexual insecurity, caused by an insulting remark of a former boyfriend towards the end of a previous relationship, in no time with a few casual funny comments.
The film's beginning suggests that the good times won't go on forever. At certain stages of the film a former girlfriend shows up, gradually showing the destructive force Georgio has on women. Whatever happens -being caught in bed with another woman, drug use, financial difficulties- Georgio always charms his way out of it. When Tony does react it's usually in front of their friends through extreme emotional outbursts which only seems to lead to more sympathy towards Georgio. And even though she knows their relationship is not healthy she somehow cannot get herself to truly leave Georgio. No wonder 'Rien ne sert de courir' ('No use in running away') happened to be the working title.
Juxtaposing the rise and fall of a relationship with the physical rehabilitation is slowly but truly suggesting the physical injuries sustained are a desperate cry-out caused by the emotional stress of the marriage. Will Tony ever be able to once and for all get out from under the spell of Georgio?
Emmanuelle Bercot had quite the festival, she directed to opening film 'La tête haute' (Standing Tall) and won the best acting prize. It would have been nice if she could have shared it with Cassel as he perhaps delivers the finest performance of his career to date. The way he keeps his character remain charming despite his often despicable actions make the unlikely indecision of the Tony character all the more believable. Only the scenes featuring Tony as a lawyer do not have enough credibility. Please visit my site 'bttcinema.com'.
Her three previous films feature a protagonist using (or hiding behind?) a camera. A documentary camera for the semi- autobiographical 'Pardonnez-moi' (2006) (Forgive Me) and 'Le bal des actrices' (2009) (All About Actresses), a photo camera for 'Polisse' (2011) (Prix du jury). No hiding in this film though, emotions are running amok. The film starts with a skiing accident of the main character Tony (short for Marie-Antoinette) played by Emmanuelle Bercot. It's not exactly clear if it really was an accident or a form of deliberate self harming. A bit in the vein of the famous opening scene of 'Lawrence of Arabia' where it's not exactly clear if the main character had an accident or was committing suicide.
After this opening the movie switches between flashbacks of the meeting and falling in love of Tony and Georgio ( a truly fantastic Vincent Cassel) and scenes of Tony in a rehabilitation center, where her knee injury is being treated. We see Tony being knocked of her socks by the extreme charm and sharp wit of Georgio. There's a nice scene were Georgio is getting rid of Tony's sexual insecurity, caused by an insulting remark of a former boyfriend towards the end of a previous relationship, in no time with a few casual funny comments.
The film's beginning suggests that the good times won't go on forever. At certain stages of the film a former girlfriend shows up, gradually showing the destructive force Georgio has on women. Whatever happens -being caught in bed with another woman, drug use, financial difficulties- Georgio always charms his way out of it. When Tony does react it's usually in front of their friends through extreme emotional outbursts which only seems to lead to more sympathy towards Georgio. And even though she knows their relationship is not healthy she somehow cannot get herself to truly leave Georgio. No wonder 'Rien ne sert de courir' ('No use in running away') happened to be the working title.
Juxtaposing the rise and fall of a relationship with the physical rehabilitation is slowly but truly suggesting the physical injuries sustained are a desperate cry-out caused by the emotional stress of the marriage. Will Tony ever be able to once and for all get out from under the spell of Georgio?
Emmanuelle Bercot had quite the festival, she directed to opening film 'La tête haute' (Standing Tall) and won the best acting prize. It would have been nice if she could have shared it with Cassel as he perhaps delivers the finest performance of his career to date. The way he keeps his character remain charming despite his often despicable actions make the unlikely indecision of the Tony character all the more believable. Only the scenes featuring Tony as a lawyer do not have enough credibility. Please visit my site 'bttcinema.com'.
Heartwarming and heartbreaking
FrenchEddieFelson14 August 2019
An excellent film dealing with the complex concept of couple and the vision of each of the two protagonists about love, with their own pasts, their hypothetical skeletons in the closet, their desires, their doubts, their regrets, their professional issues, ... and the faculty of idealizing the partner, ephemerally or perennially.
The actors Vincent Cassel and Emmanuelle Bercot are fabulous. Georgio is charming and highly sensitive. Tony is fundamentally under his spell and blindly idealizes him. We feel a connection apparently sincere and real between them, with an obvious alchemy. A constructive alchemy first, a little less afterwards. And the director Maïwenn produces an excellent film and demonstrates her undeniable qualities, after the unforgettable Polisse (2011) and its 13 nominations during the César 2012.
As a synthesis: a French must see. 7/8 of 10
The actors Vincent Cassel and Emmanuelle Bercot are fabulous. Georgio is charming and highly sensitive. Tony is fundamentally under his spell and blindly idealizes him. We feel a connection apparently sincere and real between them, with an obvious alchemy. A constructive alchemy first, a little less afterwards. And the director Maïwenn produces an excellent film and demonstrates her undeniable qualities, after the unforgettable Polisse (2011) and its 13 nominations during the César 2012.
As a synthesis: a French must see. 7/8 of 10
How far can we go for love ?
matlabaraque30 April 2016
Tony (Emmanuelle Bercot) tries desperately to recall the tempestuous relationship she had with Giorgio (Vincent Cassel). Why did they fall in love? Were they both in love or was it just her ? Who was Giorgio for real ? Was he himself at every moment or was he manipulating her ? How could she be so blind and how could she let this passion submit herself that much and that far into a circle of destruction ?
The controversial French director, Maïwenn, ex wife of Luc Besson has now proved (if she ever had to) she has reached maturity and mastery in every aspect of directing a movie from filming and directing actors to writing dialogs and a subtle scenario. The performances of the actors are just astonishing. Vincent Cassel seems he is like himself, smooth talker and bold, Emmanuelle Bercot gives it all showing restraint with huge pain,just like her character who cannot believe she has to go through that much but who needs to cope with every single situation. Anchored in reality, the cinema of Maiwen confirms it is based on genuine dialogs and a rough reality.
What is new and different from her other movies, it's that this time she tackles a very common theme: Love, passion, maybe with something less personal, but still with her rough way always at the limit of physical violence. Fortunately, there are light-full moments that make this drama pleasant to watch.
I was really surprised because I was not sure I liked the cinema of Maiwenn. I would even dare to say that this movie is not far from perfect (except the first scene with the psychologist that sounds so fake ! What a pity!). The strength of the film lies in its ability to hold the attention all the way through. It's indeed a breathless and thrilling experience to watch this film, because you expect the situation to worsen even more, you expect the character to realize what she is going though, you expect the director to make this passion a nightmare but she does not.
The film features an astonishing performance from the two actors (the actress received the prize for her performance in Cannes). It features as well intense moments of emotion interrupted from time to time with light-full and hilarious moments, especially thanks to the character of the brother. I would spot this as something new in Maiwenn's cinema, because she was not used to allowing us to take our breath... Very well done Maïwenn this time, can't wait to see the next one !
The controversial French director, Maïwenn, ex wife of Luc Besson has now proved (if she ever had to) she has reached maturity and mastery in every aspect of directing a movie from filming and directing actors to writing dialogs and a subtle scenario. The performances of the actors are just astonishing. Vincent Cassel seems he is like himself, smooth talker and bold, Emmanuelle Bercot gives it all showing restraint with huge pain,just like her character who cannot believe she has to go through that much but who needs to cope with every single situation. Anchored in reality, the cinema of Maiwen confirms it is based on genuine dialogs and a rough reality.
What is new and different from her other movies, it's that this time she tackles a very common theme: Love, passion, maybe with something less personal, but still with her rough way always at the limit of physical violence. Fortunately, there are light-full moments that make this drama pleasant to watch.
I was really surprised because I was not sure I liked the cinema of Maiwenn. I would even dare to say that this movie is not far from perfect (except the first scene with the psychologist that sounds so fake ! What a pity!). The strength of the film lies in its ability to hold the attention all the way through. It's indeed a breathless and thrilling experience to watch this film, because you expect the situation to worsen even more, you expect the character to realize what she is going though, you expect the director to make this passion a nightmare but she does not.
The film features an astonishing performance from the two actors (the actress received the prize for her performance in Cannes). It features as well intense moments of emotion interrupted from time to time with light-full and hilarious moments, especially thanks to the character of the brother. I would spot this as something new in Maiwenn's cinema, because she was not used to allowing us to take our breath... Very well done Maïwenn this time, can't wait to see the next one !
healing a knee and a heart
ferguson-68 September 2016
Greetings again from the darkness. We have all had that friend who falls head over heels for someone we know is not good for them. If we are a dutiful friend, we make every effort possible to open their eyes before it's too late. Sometimes they are simply too far gone to listen
and what follows is a roller-coaster of emotions, or even an outright train wreck. Writer/director (and sometimes actress) Maiwenn, who was once married to director Luc Besson, finds much to examine in the roller-coaster relationship of Georgio and Marie/Tony.
The story is viewed through the eyes (and recollections) of Marie/Tony played with exuberance by Emmanuelle Bercot. After a skiing "accident", Tony goes to a rehabilitation center to receive post-surgery treatment. While her knee is healing, she also spends her time self-analyzing a tumultuous and destructive relationship with her ex Georgio (Vincent Cassel). It's easy to see the parallels for her learning to walk again, while also learning to live again.
Tony is a successful criminal attorney and self-described "normal" woman. She falls hard for the exciting Georgio, a life-of-the-party type. Tony's brother Solal (Louis Garrel) and Georgio's suicidal ex Agnes (Chrystele Saint Louis Augustin) are both against this relationship, but it's challenging to stop the love bug when it hits this hard. The film acts as a blueprint of how relationships and falling in love can start strong, build to a crescendo, and then crash and burn.
Georgio has many childlike characteristics. He is fine when he gets his way, but explosive and manipulative at the drop of a hat. He is fully engaged in phase one which is filled with passion, lust, fun and excitement; however, once the everyday toil and maintenance of the relationship is required, his bi-polar personality becomes difficult to watch.
Addiction plays a key role here. Georgio is addicted to freedom, partying, and drugs; Tony is addicted to the excitement and passion that he delivers to her "normal" life. There are some cinematically rare "real life" scenes scattered throughout, and none better than the couple's first time in bed, and a later dinner scene where Georgio's charm and manipulation skills are on full display as he puts Tony in a no-win situation.
Vincent Cassel has joined Mads Mikkelsen on my short list of actors that I will watch regardless of the project. His screen presence is powerful and emotionally-driven, and here he generates both admiration and disgust at varying times. We understand why Tony is in a "can't live with him, can't live without him" mode. Emmanuelle Bercot (also a writer and director for other films) manages to cover the full spectrum of emotions during the film, and she takes us along for the self-reflection. We pull for her even as we question her sanity at times. Somehow we get it he's the king of jerks, but he's her king. If only she had listened...
The story is viewed through the eyes (and recollections) of Marie/Tony played with exuberance by Emmanuelle Bercot. After a skiing "accident", Tony goes to a rehabilitation center to receive post-surgery treatment. While her knee is healing, she also spends her time self-analyzing a tumultuous and destructive relationship with her ex Georgio (Vincent Cassel). It's easy to see the parallels for her learning to walk again, while also learning to live again.
Tony is a successful criminal attorney and self-described "normal" woman. She falls hard for the exciting Georgio, a life-of-the-party type. Tony's brother Solal (Louis Garrel) and Georgio's suicidal ex Agnes (Chrystele Saint Louis Augustin) are both against this relationship, but it's challenging to stop the love bug when it hits this hard. The film acts as a blueprint of how relationships and falling in love can start strong, build to a crescendo, and then crash and burn.
Georgio has many childlike characteristics. He is fine when he gets his way, but explosive and manipulative at the drop of a hat. He is fully engaged in phase one which is filled with passion, lust, fun and excitement; however, once the everyday toil and maintenance of the relationship is required, his bi-polar personality becomes difficult to watch.
Addiction plays a key role here. Georgio is addicted to freedom, partying, and drugs; Tony is addicted to the excitement and passion that he delivers to her "normal" life. There are some cinematically rare "real life" scenes scattered throughout, and none better than the couple's first time in bed, and a later dinner scene where Georgio's charm and manipulation skills are on full display as he puts Tony in a no-win situation.
Vincent Cassel has joined Mads Mikkelsen on my short list of actors that I will watch regardless of the project. His screen presence is powerful and emotionally-driven, and here he generates both admiration and disgust at varying times. We understand why Tony is in a "can't live with him, can't live without him" mode. Emmanuelle Bercot (also a writer and director for other films) manages to cover the full spectrum of emotions during the film, and she takes us along for the self-reflection. We pull for her even as we question her sanity at times. Somehow we get it he's the king of jerks, but he's her king. If only she had listened...
Keep learning from this movie
a-7873818 April 2020
If people do not repair their inner defects, do not rationally observe and manage their own behavior pattern, just follow the instinct to make choices, a lot of times will make the decision to drink poison to quench thirst, and continue to repeat the mistakes, until there is no retreat. Fix yourself. Identify the right people. Do the right thing. These three things may not be done in a lifetime for many people.
"You must have nothing to lose in order to love with heart and soul"
DVR_Brale21 August 2016
I've already written about chemistry between Nicolas Cage and Tea Leoni in The Family Man and between Rebecca Hall and Jason Sudeikis in Tumbledown. But chemistry between Vincent Cassel and Emmanuelle Bercot surpasses everything I've ever seen. In all ups and downs love brings, two of them were able to maintain the same connection throughout the entire movie.
So far, I've seen Vincent Cassel starring in Irreversible and playing Jacques Mesrine in L'ennemi public n°1; two great movies. But his performance in Mon Roi is better than those two - maybe the single greatest performance I've ever seen. His delivery was amazingly realistic - like he didn't even act but acted like in everyday normal life. After seeing Mon Roi Vincent Cassel became Georgio Milevski for me.
Georgio Milevski initially appeared to me as an adulterous, drug using psycho. Nothing more. Maybe charming and funny psycho and hence a dangerous psycho. But as I continued to watch the movie I couldn't help myself not to feel some sympathy for him. Maybe there was something frank and loving about him. Maybe he's loving at the core of his heart which has been ruined by addictions. My reason told me there was nothing good about him but my heart told me a different story - that in which Georgio sincerely struggles to overcome what he had become for the sake of his partner. I'm still not sure who he really is and that makes me uncomfortable because the same feeling must have gone through Tony's head. That ignorance may be the reason she allowed herself to submit to him. I think this attitude lies at the very heart of "can't live with, can't live without" relationships. That's why this impersonation may be the best I've ever seen - it made me feel disturbed and angry but sensible as well since there just is something mysterious about Georgio.
Emmanuelle Bercot played Tony - deeply committed but deeply inside broken women who tolerates more than she should. After seeing Tony's struggles I asked myself again a question which begets a decent answer: why do we remain committed to relationships which bring only pain and misery? Is that love? Can love be destructive towards yourself? No. It's addiction which makes us stick to destructive relationships. Georgio and Tony are somehow very alike: he's addicted to drug and partying but Tony's addicted to him. They're both addicts struggling to quit - Georgio taking drugs and Tony dating Georgio.
The way I interpreted a relationship between Tony's physical rehab and her reminiscence of a relationship is the following: her physical rehab is just a vivid analogy of her psychical rehab; the same way she has to treat her knee in order to be repaired is the way she has to treat her heart. With patience, tenderness and help of other loving people.
In conclusion: this is a type of movie which may touch you deeply if you were ever involved in tumultuous relationship. You may find looking at your past or present relationship as a third person since Mon roi may bring forth some memories.
So far, I've seen Vincent Cassel starring in Irreversible and playing Jacques Mesrine in L'ennemi public n°1; two great movies. But his performance in Mon Roi is better than those two - maybe the single greatest performance I've ever seen. His delivery was amazingly realistic - like he didn't even act but acted like in everyday normal life. After seeing Mon Roi Vincent Cassel became Georgio Milevski for me.
Georgio Milevski initially appeared to me as an adulterous, drug using psycho. Nothing more. Maybe charming and funny psycho and hence a dangerous psycho. But as I continued to watch the movie I couldn't help myself not to feel some sympathy for him. Maybe there was something frank and loving about him. Maybe he's loving at the core of his heart which has been ruined by addictions. My reason told me there was nothing good about him but my heart told me a different story - that in which Georgio sincerely struggles to overcome what he had become for the sake of his partner. I'm still not sure who he really is and that makes me uncomfortable because the same feeling must have gone through Tony's head. That ignorance may be the reason she allowed herself to submit to him. I think this attitude lies at the very heart of "can't live with, can't live without" relationships. That's why this impersonation may be the best I've ever seen - it made me feel disturbed and angry but sensible as well since there just is something mysterious about Georgio.
Emmanuelle Bercot played Tony - deeply committed but deeply inside broken women who tolerates more than she should. After seeing Tony's struggles I asked myself again a question which begets a decent answer: why do we remain committed to relationships which bring only pain and misery? Is that love? Can love be destructive towards yourself? No. It's addiction which makes us stick to destructive relationships. Georgio and Tony are somehow very alike: he's addicted to drug and partying but Tony's addicted to him. They're both addicts struggling to quit - Georgio taking drugs and Tony dating Georgio.
The way I interpreted a relationship between Tony's physical rehab and her reminiscence of a relationship is the following: her physical rehab is just a vivid analogy of her psychical rehab; the same way she has to treat her knee in order to be repaired is the way she has to treat her heart. With patience, tenderness and help of other loving people.
In conclusion: this is a type of movie which may touch you deeply if you were ever involved in tumultuous relationship. You may find looking at your past or present relationship as a third person since Mon roi may bring forth some memories.
Great Movie, Very well told. Realistic.
leonormanrique3 October 2016
Did capture my attention from the very first minute. It's rhythm never drops.It takes you on a ride thru what relationships can develop when interacting with such a dysfunctional, selfish, self centered character as Georgio MIlevski. I saw myself perfectly portrayed on Tony's suffering struggling to manage day to day life, while being attached and trapped on a destructive relationship. In the mean time he did not even notice, the way she was being destroyed by him.
Both actors did play magnificent roles. Extremely good performances. This film really captures the scent of these type or relation, and brings a lot of light into the way it can destroy, but also, a very deep reflection opportunity to run...escape....go away and end whatever alike scenario we can be going thru.
It did bring it all to me. Positive. Excellent movie and acting!
Both actors did play magnificent roles. Extremely good performances. This film really captures the scent of these type or relation, and brings a lot of light into the way it can destroy, but also, a very deep reflection opportunity to run...escape....go away and end whatever alike scenario we can be going thru.
It did bring it all to me. Positive. Excellent movie and acting!
More than merely watchable, but...
elision1024 July 2020
Warning: Spoilers
I enjoyed this story of a tempestuous love relationship with its ups and downs.
There's a couple of things that get me, though. First, I get that French and American attitudes toward work are different, ie, work for many French is viewed as less central to one's life than it is for many Americans. Still, with this much chaos in the couple's personal lives, it's hard to see how the lawyer wife is so successful in her career. As for the husband, I know there are rogues that manage to both be well-off and one inch ahead of the law. Still, beside mention of a restaurant ownership at the beginning, where does all the money come from?
Second, again on this topic of occupation and just IMHO, the wife didn't seem to have the mind or bearing of a highly successful lawyer. I got no sense of any deep intellectual acuity or curiosity. I got the feeling they wanted to make her the epitome of the smart, successful woman, so they chose that profession. But why not marketing or something more plausible?
What a great film - The price we pay for love
dakjets29 October 2016
This film is about the difficult love. The things we do for love. The challenges that come when we fall for the wrong person. The film is very good at depicting the phrase "love is blind". The film has many aspects and issues. It is deep, while it shows how difficult it is to be in love with someone who treats you badly and a partner who brings instability into your life. Many people have similar experiences, although they may not measure up to the stresses that the main character in this film experience. The film deals with difficult subjects, and the actors are very convincing. Talk about having the right kind of cast. If you are going to see this movie, do not read reviews which spoils the story of the film first. This is a movie you need to see without any prejudices or knowledge. I also believe that this is a movie many may have different perceptions of, and therefore should be set with an open mind when to see it. Highly recommended.
Without preaching or judgement this is an honest portrait of a marriage and love and everything else that comes with it.
mjfhhh11 March 2016
Tony is recovering from a leg trauma in a rehabilitation centre on the border of the sea. But the real trauma is in her soul. Reflecting on what brought her to this point in her life she is remembering the affair with handsome and unpredictable Georgio, and their turbulent relationship over the last ten years. It brought her happiness but also a lot of pain. How soon will she be back on her feet again? Will she ever?
If you like dramatic love stories you may instantly recognize the premise of the film, it had been used hundreds of times. A heroine going down the memory lane to figure out what had gone wrong. There's one thing, however, that makes MY KING to stand out – it is a very honest film with a very real, raw feel to every scene, performance and dialogue. The very intelligent but plain looking Tony seems like an odd match to charismatic and larger than life Georgio, however the sparks that are flying on screen cannot be ignored. Their affair and their relationship are believable and over the course of the film you will learn them as intimately as if they were your close friends.
There are a lot of jokes, but also a lot of sadness in the film. The film's episodic structure may be a turn off for many, but there is a feeling that the director is always in control, leading the story the right way and fixing things as soon as the narrative begin to stumble a little.
Instead of focusing on the fantastic performances from Vincent Cassel and Emmanuelle Bercot, I want to say a few words about Louis Garrel. He is only in a supporting role of Tony's younger brother, however his presence adds realism to the story and a much needed comic relief. He is one of those actors who make anything he is in a little better.
MY KING gives us a very unusual relationship, but highlights the problems everyone can identify with. Without preaching or judgement this is an honest portrait of a marriage and love and everything else that comes with it.
FOR MORE FRENCH FILM REVIEWS PLEASE VISIT MY WEBSITE:
http://pashasfilms.blogspot.com.au/
If you like dramatic love stories you may instantly recognize the premise of the film, it had been used hundreds of times. A heroine going down the memory lane to figure out what had gone wrong. There's one thing, however, that makes MY KING to stand out – it is a very honest film with a very real, raw feel to every scene, performance and dialogue. The very intelligent but plain looking Tony seems like an odd match to charismatic and larger than life Georgio, however the sparks that are flying on screen cannot be ignored. Their affair and their relationship are believable and over the course of the film you will learn them as intimately as if they were your close friends.
There are a lot of jokes, but also a lot of sadness in the film. The film's episodic structure may be a turn off for many, but there is a feeling that the director is always in control, leading the story the right way and fixing things as soon as the narrative begin to stumble a little.
Instead of focusing on the fantastic performances from Vincent Cassel and Emmanuelle Bercot, I want to say a few words about Louis Garrel. He is only in a supporting role of Tony's younger brother, however his presence adds realism to the story and a much needed comic relief. He is one of those actors who make anything he is in a little better.
MY KING gives us a very unusual relationship, but highlights the problems everyone can identify with. Without preaching or judgement this is an honest portrait of a marriage and love and everything else that comes with it.
FOR MORE FRENCH FILM REVIEWS PLEASE VISIT MY WEBSITE:
http://pashasfilms.blogspot.com.au/
The greatest misfortune, the montage
Andres-Camara26 July 2017
Warning: Spoilers
The movie itself is not good. Get tired too fast. You see quickly what the problem is going to be. It will be because we have seen it many times, but seeing characters so extreme you know that from one end goes to the next and not surprising.
The actors are very well, that can not be denied. They are all very well.
There are times when you even laugh at the graces Cassel makes. Even knowing that such a character will go to the other end. The problem is that the first thing you think about is because Bercot does not realize it.
What has taken me most out of the film is the montage it has. It is becoming fashionable non-linear assembly, but for me in this case, does not let you get to empathize with the characters in the good times and also let you suffer with them in the bad, because throughout the film You have been seeing the end and the beginning. Apart from being too long the friendly part.
It has a very French photograph, white bone, it does not count anything. Let the script alone be the most important. It seems that they do not know that the cinema is composed of several stages.
The management, manages to create a close couple, yes, but only that. He gets bored at times and does not see that it is long. He also does not know how to narrate with the camera.
I do not understand that you want the last sequence or that I'm too rational
The actors are very well, that can not be denied. They are all very well.
There are times when you even laugh at the graces Cassel makes. Even knowing that such a character will go to the other end. The problem is that the first thing you think about is because Bercot does not realize it.
What has taken me most out of the film is the montage it has. It is becoming fashionable non-linear assembly, but for me in this case, does not let you get to empathize with the characters in the good times and also let you suffer with them in the bad, because throughout the film You have been seeing the end and the beginning. Apart from being too long the friendly part.
It has a very French photograph, white bone, it does not count anything. Let the script alone be the most important. It seems that they do not know that the cinema is composed of several stages.
The management, manages to create a close couple, yes, but only that. He gets bored at times and does not see that it is long. He also does not know how to narrate with the camera.
I do not understand that you want the last sequence or that I'm too rational
the king and the queen
dromasca16 September 2020
French actress and film director Maïwenn already has a rather interesting biography that could be the subject of a film in the future. Until this happens (or not) each of her appearances in front of or behind the camera arouses interest and causes heated discussions. Maïwenn is not and I don't think she's even trying to be a consensus-seeking personality, and the movie 'Mon Roi' is no exception. It is her first feature film in which Maïwenn is limited to being 'only' the film director, entrusting the lead roles to a couple of outstanding actors, Vincent Cassel and Emmanuelle Bercot. Bercot actually won an acting award at Cannes for this role. There are many things that I liked in this film, there are some that impressed me less, but 'Mon Roi' did not leave me indifferent at any time during the over two hours of screening.
Lawyer Tony and the owner of restaurant Giorgio live a tumultuous love story that lasts ten years, a story that we follow from the first meeting to the possible end through flashbacks that take place in memory of the heroine after a ski accident that immobilizes her for a few months, possibly suicide attempt or maybe testing of limits. It is a romantic story that seems doomed to failure for everyone except those who live it directly, a relationship and a marriage in which there is love but not happiness, an asymmetrical relationship in which the woman repeatedly falls under the fascination of the man who seems to accumulate all male vices possible - infidelity, drugs, material instability. The waters seem to calm down in a rather ambiguous ending, but we can't be sure that the story is really over.
The main quality of the film in my opinion is the exceptional interpretation of the two lead roles. The method used by the director Maïwenn defines the main lines of the roles and the place where the story ends in each scene, but does not establish precisely the gestures or the lines, leaving to the actors a great freedom of expression. Emmanuelle Bercot and Vincent Cassel fully involve themselves in using this freedom, immersing themselves in the roles of two people who love each other to the point of mutual destruction. The acting performances are even more remarkable considering that the actors were forced to improvise at times because the script did not offer many additional references. For example, Tony's intellectual dimension is not highlighted at all in contrast to the sparkling but empty world of the celebrities in which Giorgio seems to be happy. The route of Tony's physical and mental recovery in the sanatorium follows a schematic and idealized path, and the final scene seems to cancel out a large part of the effects built during the rest of the story. 'Mon Roi' is an interesting film, which gets attention especially because of the quality and intensity of the performances of the two actors. More attention to detail and less schematism in defining the sub-plots and supporting characters would have made the difference between an interesting film like 'Mon Roi' and a very good one.
Lawyer Tony and the owner of restaurant Giorgio live a tumultuous love story that lasts ten years, a story that we follow from the first meeting to the possible end through flashbacks that take place in memory of the heroine after a ski accident that immobilizes her for a few months, possibly suicide attempt or maybe testing of limits. It is a romantic story that seems doomed to failure for everyone except those who live it directly, a relationship and a marriage in which there is love but not happiness, an asymmetrical relationship in which the woman repeatedly falls under the fascination of the man who seems to accumulate all male vices possible - infidelity, drugs, material instability. The waters seem to calm down in a rather ambiguous ending, but we can't be sure that the story is really over.
The main quality of the film in my opinion is the exceptional interpretation of the two lead roles. The method used by the director Maïwenn defines the main lines of the roles and the place where the story ends in each scene, but does not establish precisely the gestures or the lines, leaving to the actors a great freedom of expression. Emmanuelle Bercot and Vincent Cassel fully involve themselves in using this freedom, immersing themselves in the roles of two people who love each other to the point of mutual destruction. The acting performances are even more remarkable considering that the actors were forced to improvise at times because the script did not offer many additional references. For example, Tony's intellectual dimension is not highlighted at all in contrast to the sparkling but empty world of the celebrities in which Giorgio seems to be happy. The route of Tony's physical and mental recovery in the sanatorium follows a schematic and idealized path, and the final scene seems to cancel out a large part of the effects built during the rest of the story. 'Mon Roi' is an interesting film, which gets attention especially because of the quality and intensity of the performances of the two actors. More attention to detail and less schematism in defining the sub-plots and supporting characters would have made the difference between an interesting film like 'Mon Roi' and a very good one.
Beautiful, a masterpiece
zicteban28 June 2017
Witful and touching. Great dialogues arising sensitivity and emotion played by an admirable acting team. At the same time full of humour and damn tragic. An intense mix telling a truly believable story. We continuously feel saddened and amazed, which is what the movie maker wanted, I guess, since she must have felt the same way in reality. D
Love with no filter
k-khoshroo19 July 2021
Very raw and emotional movie... such extreme emotions displayed with no filter... at times very frustrating, devastating and heartbreaking, other times extremely uplifting, passionate and heart melting! Truly a roller coaster...
A masterpiece of French filmmaking.
Mobithailand13 June 2016
Warning: Spoilers
'Mon Roi' ("My King"), which was selected to compete in the Cannes Film Festival, is a typical French tale of a tortuous relationship between a highly charismatic man (Georgio) and a woman (Tony) who he charms into marriage.
Most of the movie is told in flashbacks. Tony is in rehabilitation following a serious Skiing accident in which there is a suggestion that it might have been a deliberate attempt at suicide. Here she meets some much younger, diverse characters who offer her support and become firm friends. It is during this time that she looks back over her life with Georgio.
The two were very much in love, and at first, things go very well. Georgio owns a smart restaurant and Tony is carried away with his lifestyle and his 'joie de vivre'. He sweeps her off her feet, even though there are a number of early warning signs that things may eventually go a bit awry.
He takes her to a wedding ceremony without advance warning where he happens to be the best man; then she meets one of his ex-girlfriends (Agnes) who is working at Georgio's restaurant, and who accuses Tony of stealing her boyfriend. Next, Georgio insists that Tony becomes pregnant – and when she duly complies, the two get married.
Things get worse. On hearing the news of the marriage, Agnes tries to kill herself and in the aftermath, Georgio insists on taking care of her. The newly married couple fight many times and separate, only to reconcile again. By this time Georgio is living in his own apartment for much of the time and Tony catches him with a strange girl in his bed.
There is much more, but although my review does contain a few spoilers, I won't tell you what happens and completely ruin it for those who want to watch it.
Very few western couples succeed in remaining together for their entire lives, and this movie is a typical story of incapability. Despite the unquenchable fiery love between them, it is clear that love alone is not enough to support a marriage.
The clever flashbacks, the high production values and the outstanding acting of the entire cast, including the young people Tony meets at the rehabilitation centre and Tony's brother and his girlfriend, who act as Tony's counsellors, make this movie a real gem to watch.
But it is the two central characters played by Emmanuelle Bercot (Tony) and Vincent Cassel who plays a blinder as Georgio that makes this film so watchable and believable. Bercot picked up the best actress gong at the Cannes Film Festival.
'Mon Roi' is a masterpiece of French filmmaking, and they didn't need a 'cop whodunit' or a mass shooting or a hostage-taking or a terrorist outrage to have me glued to the screen throughout its two hours + length.
Most of the movie is told in flashbacks. Tony is in rehabilitation following a serious Skiing accident in which there is a suggestion that it might have been a deliberate attempt at suicide. Here she meets some much younger, diverse characters who offer her support and become firm friends. It is during this time that she looks back over her life with Georgio.
The two were very much in love, and at first, things go very well. Georgio owns a smart restaurant and Tony is carried away with his lifestyle and his 'joie de vivre'. He sweeps her off her feet, even though there are a number of early warning signs that things may eventually go a bit awry.
He takes her to a wedding ceremony without advance warning where he happens to be the best man; then she meets one of his ex-girlfriends (Agnes) who is working at Georgio's restaurant, and who accuses Tony of stealing her boyfriend. Next, Georgio insists that Tony becomes pregnant – and when she duly complies, the two get married.
Things get worse. On hearing the news of the marriage, Agnes tries to kill herself and in the aftermath, Georgio insists on taking care of her. The newly married couple fight many times and separate, only to reconcile again. By this time Georgio is living in his own apartment for much of the time and Tony catches him with a strange girl in his bed.
There is much more, but although my review does contain a few spoilers, I won't tell you what happens and completely ruin it for those who want to watch it.
Very few western couples succeed in remaining together for their entire lives, and this movie is a typical story of incapability. Despite the unquenchable fiery love between them, it is clear that love alone is not enough to support a marriage.
The clever flashbacks, the high production values and the outstanding acting of the entire cast, including the young people Tony meets at the rehabilitation centre and Tony's brother and his girlfriend, who act as Tony's counsellors, make this movie a real gem to watch.
But it is the two central characters played by Emmanuelle Bercot (Tony) and Vincent Cassel who plays a blinder as Georgio that makes this film so watchable and believable. Bercot picked up the best actress gong at the Cannes Film Festival.
'Mon Roi' is a masterpiece of French filmmaking, and they didn't need a 'cop whodunit' or a mass shooting or a hostage-taking or a terrorist outrage to have me glued to the screen throughout its two hours + length.
The fast approach romance, fades away slowly.
Reno-Rangan14 September 2017
I knew it was a romance film, but totally unexpected what I just saw. It was different, that's all, other than that there are many similar films that were already made. The film's focus was not the characters, but the phases and the pace of a romance. The love at the beginning and the same love at some time in the latter. The differences what the film highlights. But it's impossible without the characters and their perspectives. So, from the beginning to the end, how a romance can evolve, how it influences other around, all the fun, crazy stuffs, is the film.
The film was partially inspired by the director's own married life. Nice casting and performances. I felt like there was no depth in narration. Depth means, you can't understand the characters fully. Everything it lets you know are the events from where the film begins. So basically it is all about the romance and nothing else. Not even their professions, or the friends and any side incidents, except those topics were used in places in a small quantity to fill the void and make a clean flow of the story. The whole two hours is like about an insane romance. Again, that part divides into two, the first half of the film and the next half.
In the first half, it's all about the initiation. Girl meets boy, instantly fall in love with each other and do crazy things to build the character. It seems like any romantic film, but it all necessarily designed to manage what follows in the later part. Apart from the two who are well positioned from their professional level, it looked kind of like a rich guy meets an economically average girl. Then entering his world, and beginning to taste the royal lifestyle, as well as a sweet romance. The story was mainly told from the woman's perspective. The narration had double layer, going back and returning to present, the two timeline story was revealed to us.
❝I prefer not to be in love and not get hurt.❞
The woman seems intentionally met with an accident in the opening, and she begins to remember her recent past. Her unexpected crazy romance with a rich playboy. While recovering from the knee injury, she makes some friends and they all help each other to come out of their struggle. On the other side of the narration, revealed everything she went through. Not just a happy love story, but struggles over the time pass by. Having a child, being parents, the life drastically changes for both of them. Yet their love and care for each other remains somewhere in the deep of their hearts. Then there is a life, every moment is unpredictable. So how it ends was not that I surprised, because of its realistic.
At one point, I thought it could be the French 'The Notebook'. It did not have emotional end. I'm not saying about sad or happy ending, but the film was honest to the real world. How the second half turned out was the excellent twist in the narration, but done with slowly. This was about the people in their late 30s or 40s. That makes the film is mainly for middled aged people. Otherwise, if the characters and their generation were brought down to like the 20s, the film would have been totally another level. And would have had a more target audience. That's what most of the Hollywood films focus on these days.
The same film in Hollywood would have been one of the frontrunner for the Oscars. The performances were really great. Particularly Emmanuelle Bercot was awesome. As usual, Vincent Cassel showed his class, proved why he's one of the top stars in France. I thought two hours was a bit long, but the writing was good, they had filled the film nicely with the events that helped further to grow stronger in the following scenes.
Despite I consider it a nice film, I don't think everybody would enjoy. They might like it at the end, enjoy watching is not that comes along. Because it is not an entertainment film, nor an art. As I said before, realistic about the relationship and its maturity in the modern world. The other options for the relationship, despite putting all the efforts to save it like people did in the previous century. So, all I say is choose it wisely.
7/10
The film was partially inspired by the director's own married life. Nice casting and performances. I felt like there was no depth in narration. Depth means, you can't understand the characters fully. Everything it lets you know are the events from where the film begins. So basically it is all about the romance and nothing else. Not even their professions, or the friends and any side incidents, except those topics were used in places in a small quantity to fill the void and make a clean flow of the story. The whole two hours is like about an insane romance. Again, that part divides into two, the first half of the film and the next half.
In the first half, it's all about the initiation. Girl meets boy, instantly fall in love with each other and do crazy things to build the character. It seems like any romantic film, but it all necessarily designed to manage what follows in the later part. Apart from the two who are well positioned from their professional level, it looked kind of like a rich guy meets an economically average girl. Then entering his world, and beginning to taste the royal lifestyle, as well as a sweet romance. The story was mainly told from the woman's perspective. The narration had double layer, going back and returning to present, the two timeline story was revealed to us.
❝I prefer not to be in love and not get hurt.❞
The woman seems intentionally met with an accident in the opening, and she begins to remember her recent past. Her unexpected crazy romance with a rich playboy. While recovering from the knee injury, she makes some friends and they all help each other to come out of their struggle. On the other side of the narration, revealed everything she went through. Not just a happy love story, but struggles over the time pass by. Having a child, being parents, the life drastically changes for both of them. Yet their love and care for each other remains somewhere in the deep of their hearts. Then there is a life, every moment is unpredictable. So how it ends was not that I surprised, because of its realistic.
At one point, I thought it could be the French 'The Notebook'. It did not have emotional end. I'm not saying about sad or happy ending, but the film was honest to the real world. How the second half turned out was the excellent twist in the narration, but done with slowly. This was about the people in their late 30s or 40s. That makes the film is mainly for middled aged people. Otherwise, if the characters and their generation were brought down to like the 20s, the film would have been totally another level. And would have had a more target audience. That's what most of the Hollywood films focus on these days.
The same film in Hollywood would have been one of the frontrunner for the Oscars. The performances were really great. Particularly Emmanuelle Bercot was awesome. As usual, Vincent Cassel showed his class, proved why he's one of the top stars in France. I thought two hours was a bit long, but the writing was good, they had filled the film nicely with the events that helped further to grow stronger in the following scenes.
Despite I consider it a nice film, I don't think everybody would enjoy. They might like it at the end, enjoy watching is not that comes along. Because it is not an entertainment film, nor an art. As I said before, realistic about the relationship and its maturity in the modern world. The other options for the relationship, despite putting all the efforts to save it like people did in the previous century. So, all I say is choose it wisely.
7/10
Two Queens Trump Faux King
writers_reign2 June 2016
Warning: Spoilers
I had to work hard to overcome my total contempt for Vincent Cassel in order to watch this film and ultimately I'm glad I did. On the other hand I'm an admirer of Maiwenn based on watching two other films she directed, Polisse and Actresses Ball. In Mon Roi we have not one but two great actress-directors and Manu Bercot is beyond outstanding in the lead. Alas Cassell is required to be charming in several scenes and this is totally beyond him. The role cries out for an Yves Montand or Thierry T'Hermiite, actors who can do charm standing on their head and yet still be violent when necessary. Cassel doesn't do charm, what he does is Robert de Niro lite, rage, contained anger, out-of-control violence. Let's say he's competent here and leave it at that. Bercot, on the other hand is magnificent, she shares with Ariane Ascaride the quality of appearing ordinary, plain even, in repose, but then unleashing a smile that is capable of lighting a city. This is very much her film and she comes in first, second and third though even Lou Garrel - like Cassel very much a one-trick pony - comes out all right as Bercot's protective brother as does Maiwenn's real-life sister Isild Le Bresca (Maiwenn's full name is Maiwenn Le Bresca) as his wife. Great directing and great acting by Bercot make this a must-see.
Good passing time
pedro_fbastos6 February 2021
The whole truth about love
sofiapremudraya27 April 2020
An exceptional, harsh drama, with outstanding acting & direction
I_Ailurophile8 May 2023
Tumultuous relationships are invariably ripe for cinematic storytelling, no matter how distressing or awkward it gets. Given a strong cast and a good script it doesn't matter how many such films we get such titles, a new variation has a strong chance of standing tall on its own feet. Make no mistake, director Maïwenn and co-writer Étienne Comar have concocted a fierce narrative with characters, scene writing, and dialogue that are altogether jolting. Frankly 'Mon roi' is just plain hard to watch at many points as Georgio shows the extent of his self-absorbed neglect, abuse, and manipulation, and Tony struggles and increasingly falls apart in his wake. The dynamics between them are excruciating in their push and pull, in one moment raptly in love and in the next violently imploding. I can only commend Maïwenn for excellent, well-rounded direction that carefully balances the wild swings in mood, accentuating the volatility from start to finish with a smoothness that makes the softer moments all the more gentle, and the harshness deceptively easier to swallow and all the more dangerous for the fact of it. Even those present-day scenes of Tony participating in physical rehab are woven in with gratifying naturalness, a fine touch that too many other pictures lack. Truly, the filmmaker and Comar are to be congratulated for shaping the movie as we see it.
Of course the writing and direction are only parts of a whole, however, and 'Mon roi' couldn't possibly be the taut, absorbing drama that it is without an able cast. By all means, everyone involved is terrific down to the smallest supporting parts, and Louis Garrel specifically stands out as Tony's brother Solal. There can be no doubt, though, that Vincent Cassel and Emmanuelle Bercot are the stars, and they give utterly exceptional performances proving the breadth and depth of their skills. Cassel and Bercot inhabit Georgio and Tony so believably, and with such completeness, that I have to imagine Maïwenn's task as director was made considerably easier on the one hand, and on the other, that every day of filming was physically and emotionally exhausting. Every word of love and every fight come across with such electric vibrancy that it's easy to forget it's all for pretend in a fictional tale. As a viewer I'm more familiar with Cassel than Bercot, yet the strength of their acting here alone would be and is more than enough to convince me to check out more works from both of them.
Yes, the feature is well made in every other regard. The production design is splendid, and Claire Mathon's rather personal and intimate cinematography lets us feel like we're right there in the room where it happened. Stephen Warbeck's rich score lends welcome weight to any given scene, even as it largely sticks to the background. The costume design, hair, and makeup are swell. 'Mon roi' is solid all around. I don't think there's any questioning, however, that Maïwenn's direction, her screenplay with Comar, and Cassel and Bercot's performances constitute the thrumming, pulsing heart of the title. It's not even that there's any singular stroke of brilliance across these two hours, but the entirety is so captivating in its dread energy that the result is altogether exquisite. I think content warnings may be warranted for trauma given the nature of some of the material (and, okay, no small amount of nudity, and intimations of suicide or drug use), yet setting these aside I'd have no qualms recommending this to just about anyone. Whether one is a major fan of someone involved or just seeking out a good drama, 'Mon roi' is a superb film that deserves much more recognition.
Of course the writing and direction are only parts of a whole, however, and 'Mon roi' couldn't possibly be the taut, absorbing drama that it is without an able cast. By all means, everyone involved is terrific down to the smallest supporting parts, and Louis Garrel specifically stands out as Tony's brother Solal. There can be no doubt, though, that Vincent Cassel and Emmanuelle Bercot are the stars, and they give utterly exceptional performances proving the breadth and depth of their skills. Cassel and Bercot inhabit Georgio and Tony so believably, and with such completeness, that I have to imagine Maïwenn's task as director was made considerably easier on the one hand, and on the other, that every day of filming was physically and emotionally exhausting. Every word of love and every fight come across with such electric vibrancy that it's easy to forget it's all for pretend in a fictional tale. As a viewer I'm more familiar with Cassel than Bercot, yet the strength of their acting here alone would be and is more than enough to convince me to check out more works from both of them.
Yes, the feature is well made in every other regard. The production design is splendid, and Claire Mathon's rather personal and intimate cinematography lets us feel like we're right there in the room where it happened. Stephen Warbeck's rich score lends welcome weight to any given scene, even as it largely sticks to the background. The costume design, hair, and makeup are swell. 'Mon roi' is solid all around. I don't think there's any questioning, however, that Maïwenn's direction, her screenplay with Comar, and Cassel and Bercot's performances constitute the thrumming, pulsing heart of the title. It's not even that there's any singular stroke of brilliance across these two hours, but the entirety is so captivating in its dread energy that the result is altogether exquisite. I think content warnings may be warranted for trauma given the nature of some of the material (and, okay, no small amount of nudity, and intimations of suicide or drug use), yet setting these aside I'd have no qualms recommending this to just about anyone. Whether one is a major fan of someone involved or just seeking out a good drama, 'Mon roi' is a superb film that deserves much more recognition.
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