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I love this movie so much

Too much of everything

In truth, there is barely enough story here to make a film.

Great movie. Not sure what people expected but I found it highly entertaining.

This is a strange little film. Intriguing to say the least. A man sees a woman he loves, she is a hairdresser, he then marries her hence Hairdresser's Husband. It is well shot and the strange part comes because he asks the hairdresser to marry him the first time he meets her.There is an intense love between them and this plays out to the end of the film. Not a huge amount happens in the film but it is just a beautiful little film to watch. If you watch it with a Hairdresser you love then this may pay dividends. You can ask her to marry you straight after the film because with this film love at first sight and marrying almost immediately is the only option.I can't really see this happening in reality to two people not so quick as this but when love shows it's beautiful face I suppose you just have to seize the moment. Great film!

Intimacy is what this is all about. The love scene has nothing to do with sex, though is part of it. The moment when Mathilde throws herself off the bridge, the whole sequence, from the lovemaking on a chair to her sudden escape in the middle of the storm is so apparently casual that becomes incredibly heart breaking. It has a place in my memories as one of the strongest scenes i've seen.This film pictures spontaneity, though it uses completely unrealistic plots, scenes, dialogs, situations, etc. How is that made? Through the mind. What happens is spontaneous not in real life, but in our, each one's imaginations. Asking a woman to marry us, making love with her while she washes somebody's hair, those are fantasies, emphasized by the Indian spontaneous dances, and the completely darkness shed over our male character's past.The french are really good in this kind of every day life comedic dramas, which apparently are naturalistic but rationally are unrealistic (this kind of film making is in the origin of the phenomena Amélie Poulain). I suppose these films will hold themselves based on three fundamental elements: . female seductive characters (Audrey Tatou was seductive for the innocent side, Anna Galiena is for the mysterious side, i personally prefer Galiena) . cinematic capacity to deal with abstraction in plot elements, abstraction in character's definitions and apparently absurd elements (this motivates imagination in filming scenes in new ways, french new wave was good in this, these post directors like Leconte learned the lesson i think) . an image conferring unity to remember after you've seen the picture (here it has to do with light, the inner set and hair, which unites all the scenes) The light here is once more the fruit of Serra's magnificent work. His approach has all to do with this cinematic mood; i had praised his work in Blood Diamond, i reaffirm my admiration here; he really can adapt to the circumstances, be himself and solve the problems without being excessively noticed.My evaluation: 4/5 This is french equivalent to "la teta i la lluna" (which would happen 4 years later) and i recommend its viewing.http://www.7eyes.wordpress.com

Already more than 10 years since I have seen this movie the first time. And I still think it is one of the best ones... great actors (Jean Rochefort will make you laugh, Anna Galiena is superb and attractive as ever), excellent story who does not need to have a real happy end ... one of the big differences from the usual Hollywood trash. For me one of the big success of French cinema - although this film is not such a well known one... ... together with "Le fabuleux destin d'Amélie Poulain" (2001) the two French movies in my Top 10 collection! .

This movie made me feel righteous, and young again, as if I were in high school. It made me remember how much fun romantic love and theatre were when I first encountered them there. But then I remembered being warned by teachers about how love and theatre should be serious undertakings, because they were essentially dangerous. Even in my literature class, sexual morality was emphasized. Whenever a heroine was involved in passionate sex, two things seemed to happen. First, her lover left her. Second, she killed herself. Tolstoi's Anna Karenina, Flaubert's Madame Emma Bovary, Shakespeare's Juliet and Zola's Therese Racquin all killed themselves. But perhaps because of my stagecrew teacher, on the other hand, who joked a lot -- and was fond of Wagnerian music (don't ask me why) -- I was familiar with Brunhilde, who also killed herself. Her reason was religious, though. The other ladies couldn't bear living in social disgrace, but Brunhilde wanted Odin (her spiritual father) and the people who worshipped him to know that dying in love was as honorable as dying in battle. Patrice Leconte uses Brunhilde as a dramatic model in this movie, "The Hairdresser's Husband." Like the supernaturally powerful warrior Brunhilde, Leconte's hairdresser (Mathilde) wields a knife. "The point was sharp and true, a fearsome cutting blade," Wagner said. Mathilde kills herself differently than Wagner's Brunhilde did, but the meaning is the same. Mathilda throws herself into a surging river from a bridge, but surely this is meant to be symbolic because there is a bridge in France called "Brunhilde's bridge." Moralists will be completely confused by this movie, and selfish people will resent it. I loved it, and hope you do too.Mary Cadney, Oklahoma City