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Truly Dreadful Film

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

The film may be flawed, but its message is not.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Here is a man who wants more than the trophy wife, career, house and family, and loses it all.She, the wife, is an upper-class beautiful women. She also has given her husband access to her circle of friends too. She operates in an artificial world and is essentially lonely.The new women on the other hand has given up, a long time ago, on meeting her "prince in shining armour".The mixing of past, present and future, and the internal retrospective views add complexity.It potentially can happen to us all. Hence the allure...

Very few directors are prepared to take the sort of liberties Blier does, both in terms of subject matter and the manner of telling the story. "Trop Belle Pour Toi" is perhaps his most accessible film, telling the story of a successful man with a beautiful wife who unaccountably falls in love with his dumpy secretary. Depardieu is wonderful in this, utterly bewildered by his predicament, and the noted comedienne Balasko is radiant as a woman in love.The style is almost cubist, the celebrated "beginning middle and end but not necessarily in that order", and alternative storylines are proposed and discarded at whim, to the evident confusion of some viewers. Blier has often gone all out to shock but that's less evident here, however his audacious humour remains intact. Not one for the viewer who likes to sit back and be told a straight story but for the rest of us, a joy from start to finish.

Bertrand Blier is the French Pedro Almodovar: cynical and shocking. Either you love, either you hate his movies. Some of them have divided French public due to their shocking contents, notably "Les Valseuses" (1974). "Trop belle pour toi" appears like an exception in his work. It means that taste of Blier for provocation is less pronounced. However, it doesn't make the movie better for all that. It doesn't work for several reasons:first, it's hard to follow the plot because Blier introduces sequences that are earlier or subsequent to the present scene. For example, we realize too late that Colette ( Balasko) after she left Bernard, married with a man and she had children. The movie ignores certain sequences that are however essential to the development of the plot.Then, the movie irritates due to its main characters, it goes without saying that dialogs are the key to the good development of the plot. But here, you are under the impression that the characters don't exchange their words. They're talking in the emptiness and don't seem to care about the others' opinion!Let's add that the movie, sometimes, creates a certain boredom because of some lifeless sequences that drag on (notably during dinners in Depardieu's ravishing house with his wife ( Bouquet) and all their guests.In short, "trop belle pour toi" is a cold and no soul movie and it left me unsatisfied in spite of good ideas in the making ( Cluzet who expresses his anger with Schubert's music in the background played very loud). Even a trio of outstanding actors don't succeed in saving the movie.Remark: Carole Bouquet won an Oscar in France in 1990, for her performance in this movie. Good for her.

In this clever take on love and relationships, the affairs of three people are enigmatically portrayed. Everyone adores Bernard's wife Florence. His friends lust for her, her friends envy her. She is very beautiful, and for Bernard there is nothing more left to desire. And that is precisely what troubles him: she may just be too beautiful. His secretary, a temp named Colette, is completely the opposite to Florence. But in her physical unattractiveness Bernard finds a refuge to his peculiar dilemma. Despite of what may seem as a logical explanation, he is not plagued by an inferiority complex. What drives Bernard is the psychological force of the middle-age crisis. Some people wonder whether what they have is as good as it gets. Bernard actually knows that. The second he is near Florence he knows that that is true; gazes of his friends reassure him in that.With Colette, however, he feels completely at ease. There is no need for self-assertion and he is free to choose. Naturally, there is much more to this film, which is full of surprises and unexpected events. The only country where such a complex and somewhat surrealistic plot could have been brought to life, where careful avoidance of turning the film into a soap opera, a pointless comedy, or a tedious drama meets with the bittersweet taste of love and desire is France, and the philosophy of love, the satire, and the superb acting -- Depardieu, Bouquet, and Balasko make a lovely team -- are also typically French here. Ironically enough, the question of the age is inverted to "what does a MAN want?"