Les Chansons d'amour revisits the era of musical film with a modernity that is probably overwhelming for the majority of the universe. It may be less universal than the The Wizard of Oz, but its message is similar. Les Chansons d'amour is a melodramatic French flick about self-discovery - but focusing on the fluidity of sexuality. If you watch this film in hopes of viewing soft-core orgies, you're better off staying on the web.
Scenes of grey Paris complimented with a blue hue introduce us to "Part I: The Departure." Julie (Ludivine Sagnier), a stylish 20something, goes on line to buy a movie ticket. She makes a call. Ismael (Louis Garrel), her live-in boyfriend, picks up on the other end. He's at work flirting with their perky third, Alice (Clotilde Hesme.) As a comical self-referential twist, after asking Julie what film she's going to see, he states he is seriously so offended that she's going to see that.
Later, all three are together, and what happens rings true. Ismael and Alice fight for who gets to sleep in the middle. Ismael feels left out after seeing Alice jump Julie. The feelings of inadequacy expressed through friendly rival is how they mostly interact. In another scene, Alice shakes her head between the both of them when she sings "I love no one but you" in the damp, cobblestone streets after they leave a bar together.
Sadly, this act ends with one of them out of the picture permanently. One might think that this means the conflict ends, but for Ismael it just begins. Going any further would mean plot spoilers, but let's just say all of the controversy remains in the picture. But let's just also say that the trailer is highly misleading, a product of flawless marketing tactics.
Les Chansons d'amour is "French" in a very good way. The scores are not always as well developed as one would like, but they're good enough. When Ismael and Julie perform together they sound like Gainsbourg and Birkin at times. Musical films generally use song to amplify the most dramatic of moments. I don't think Les Chansons followed that structure completely, but probably for the better. At moments, breaking into musical numbers felt a little awkward - which was the overall tone of the film.
Written and Directed by Christophe Honore
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