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Fantastic!

Captivating movie !

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

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

What a nice work, how good film makers and actors Agnès Jaoui and Jean-Pierre Bacri are! Nothing is cheap in this beautiful film: not a word, not an expression, not a frame. The movie earned an Academy Award nomination in 2001 (in the end 'Crouching Tiger Hidden Dragon' won) and I think that everybody will enjoy it very much, just as I did.It's a small gem, narrating how people from very different backgrounds came across each other and how they did interact. Their strengths, they weaknesses, their needs and their dreams are represented in a most catching way: more than von Donnersmack's it reminds of Gérard Lauzier (the cartoonist), but with human comprehension in the place of cruelty. And fun: when i think back to Jean-Pierre Bacri's face staring at the paintings in the gallery I still laugh!

This is a character film, a portrait etched in dialogue between the self-written lead and the wandering sympathies of simple, well-executed cinematography. Echoes of Bacri's erstwhile partner-in-crime, Resnais, abound in image and in the weight of unspoken actions. These glances and comedic zooms denoue with the sharpness of Tati, without clouding the gravity of the story.And it is a meticulously woven story they Jaoui gives us, at a pace that might leave an impatient viewer distracted. Tracking Bacri, smooth pans move ethereally through Petit-Bourgeois sets, ever pressing the banality of her subject. The middle-aged businessman in mid-life crisis is a bittersweet choice for comedy: bitter in its reality and sweet in the familiarity, he is tantamount to a French David Brent. Castella is a character whose weakness is sympathetic to the point of embarrassment.By contrast, the hand-held and quick cutting that accompanies the theatre troupe and artists expresses the impatience we see in their speech, the bitter jealousy of the unsuccessful and arrogant intellectual. An attack on 'her own people', Jaoui here takes a dig at many of her peers in favour of the senior man, giving Devaux hints of the autobiographical that echo down to Clint Eastwood's Gran Torino.A soundtrack bridging centuries evokes the knowledge of the older man on screen as well as of the auditorium. Kathleen Ferrier's warble punctuates moments of silence as we observe Castella's nonplussed expression, while Metheny and Murray smash and spark away in background to the Bohemians. These interludes mark sea changes in viewer sympathy, serving to give some degree of cultural empathy to the characters.Above all, though, the music and rhythm of cinematography, script and music span great clashes in taste. A mesh of contempt and desire that result in a rounded and masterful work, with appeal for all but with affection for those with grey streaks in their hair.

When Hollywood re-makes "The Taste of Others (Le Gout des Autres)" it will just manage to change everything in this delightful Woody Allen meets Eric Rohmer ensemble piece that it will be awful.Here you have chaos theory at work as tiny coincidences of gradually revealed links between people whose lives wouldn't usually intersect (from an ex-cop to artists to a business executive) set off dramatic changes (or consideration of changes) in their lives. Such that something one contact says to another is then taken out of context to cause communication problems when it's passed on to another.A lot of the triumph has to do with director/co-writer Agnes Jaoui's penchant for long shots and her trust in the actors (but then she and her husband--who also co-wrote the script--are also co-stars, though not an on-screen couple). For example, two casual lovers meet up in a restaurant, and the guy introduces her to his co-worker. That sparks fly between the new pair is communicated without close-up leers or touching and with bare conversation. The woe-be-gone boss drags two employees to a strip joint for distraction, and that each guy is at a different stage in his romantic travails is reflected in each's face and body language-- and we never even see the strippers, something Hollywood can never resist showing. We root for the unexpected couples as well as their self-understanding, and they make unexpected yet believable choices. The naturalness of their interactions is laugh-out-loud funny in a knowing way, and breath-catchingly poignant.Those of you intellectuals who are already familiar with "Hedda Gabler" won't be sandbagged by one scene as I was.It deservedly won a slew of French Cesars.(originally written 3/3/2001)

This film teaches us to appreciate "The Taste Of Others". It's about embracing the differences in others, while loving yourself for being different. We all judge people because they are not like us. If you really look and learn, you will see that these people have something to offer. They have a new and different perspective on things. Alright, enough preaching. I'll let the movie speak for itself.There is alot of talking in this film and not alot of action like in the film "Amelie". If you don't speak french, you are in for alot of subtitle reading. Still you will get alot out of it. Even though it was a major winner at the Cesar awards(French Oscar's), it's pretty good just the same. ENJOY!!