This love then I It is possible to say everything, by Claude Lelouch. It is populist and vain, lazy and sentimental, obscene a political point of view of a muddy and historical perspective. That his obsession with the great history and stories, genealogies and reincarnations, the loves and sorrows is a drama rather than a filmmaker. He can neither shoot nor ride, nor cut. His movies resemble each other as do the chromo almanac. You can say all this and much more - because it's all true. But all this is true does not mean that it provided the truth of the antics of Lelouch. For even when in Such loves, he never stops to stage his narcissism and his movies, his obsessions and his cucuteries, he remains something under the order or the gift of magic. That something, maybe is it that almost beta of its way to film the faces and hear voices. Lelouch, though he wants novelist, is incapable of telling a story: he knows that showing emotions - he does not know that show how actors are born affects the surface of their face or in the palm of their voices. But that affects the detection sensitivity, Lelouch has always done better than anyone with more talent than anyone, and more tact than everyone. Lelouch is not a filmmaker: he is a film . Printed on this film sometimes wonders captured almost by chance - or, conversely, failures linked to the desire to compel (by history or his ego). Lelouch's film, great film captor of affect, is also a great film captor of chance. And this chance, he knows, only supports one constraint: that of music. Great film captor of affect and chance, cinema is also a great film music captor. Remove that, and there is nothing left of him. Remove everything else, and his film is a masterpiece of contemporary French cinema.
Lawrence Sutter