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Just perfect...

How sad is this?

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

One of the worst ways to make a cult movie is to set out to make a cult movie.

This is basically the French version of a lifetime made for TV movie, about a Robert Durst style case. It is however not anywhere close to the caliber of 'All Good Things,' since the main character in this film is the mother, not the actual murder victim or the alleged killer. And the film doesn't attempt to present a theory of how the murder happened, it just leaves it in the dark, exchanges it for pathetic scenes of Catherine Denevue with aging makeup, hobbling around a barren apartment talking about the loss of her daughter.I was unaware of this when I began watching the film, and found the events incomprehensible. The motives of the characters, be they the mother, daughter, or their attorney seemed quite murky to me. My initial reaction was to like Maurice, and become confused when his behavior started to change. The character on screen was poorly written and acted. We are apparently supposed to believe that everything Maurice did was a criminal, sociopathic act, including his desire to move up in the world and all of his professional decisions.Was Renée Le Roux actually good or bad at running the casino? The film gives us no clues whatsoever but insists that she is either way the real victim/martyr in this story. She denies her daughter an inheritance, and their relationship ends badly. I didn't really sympathize with her at all, she was a controlling parent, trying to run her adult daughter's life, but now we are supposed to view that as perfectly o.k. given the tepid courtroom soap opera that this story ends in.

"In The Name of My Daughter" (2014 release from France, original title "L'homme qu'on aimait trop" or "The man people loved too much"; 116 min.) brings the story of Agnes Le Roux, a twenty-something young woman. As the movie opens, we are in the mid/late 70s and we see Agnes arriving at the Nice airport and being picked up by Maurice, a guy who works for/with Agnes' mother, Renee. Renee runs one of the many casinos that are at the French Riviera, but the casino is not doing well. Meanwhile we see Agnes and Maurice hitting it off, even though Maurice is married and has a young son, and admittedly also has other mistresses. On top of that, Maurice has a falling out with Renee. To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.Couple of comments: first, I knew next to nothing about the movie's plot or story line when I went to see it, and as a result, the movie for me became a guessing game as to which direction this movie would take or what this movie was about in the first place: is it about the strained mother-daughter relationship? or about the possible takeover of the casino by the Mafioso? or about the potential romance between Maurice and Agnes? The Big Reveal comes only 20 minutes before the end, and the of course it all makes sense. But by then my patience had been severely tested, I must admit. Second, as the movie opens, it reminds us that "this is a work of fiction based on real-life facts". What that means to me is that the very general theme or story line of the movie is real, but plenty of 'artistic licenses' have been made as to the details of the movie. Third, if you wonder on what basis I'd go see a movie I know next to nothing about, my answer is: it stars Catherine Deneuve (as Renee). That in and of itself is good enough for me to check out a movie. As it happens, there are other worthwhile performances in this movie, most notably Guillaume Canet as Maurice, but Adele Haenel as Agnes does quite well too. Bottom line: this movie is quite good, although it takes too long to give us the Big Reveal which explains why we have been watching the previous 90+ min.This movie showed up without any hype or advertising at my local art-house theater here in Cincinnati this weekend and I went to see it right away. The Sunday matinée screening where I saw this at was surprisingly well attended. I bet you that it is Catherine Deneuve's name that attracts most people to this movie (it certainly did for me). If you are in the mood for a decent French movie that brings quality acting performances, you might want to check out "In the Name of My Daughter", be it in the theater, or eventually on VOD or DVD/Blu-ray.

Judging by André Téchiné's 2009 " La fille du RER " and his latest work to-date, " L'homme qu'on aimait trop ", the French director has recently developed an interest for actual events, and more particularly for those produced by duplicity. The two films mentioned have indeed in common to revolve around a person who made big headlines and did so by deceiving others (the former centering on the case of Marie L., a young mythomaniac who, in July 2004, faked an anti-Semitic attack while the latter revolves around the dubious figure of Maurice Agnelet, a lawyer from Nice, ambitious,winsome and charming, but also a crook and probably the murderer of his mistress). But sticking to facts does not necessarily mean that Téchiné has said farewell to what he had specialized in, the illustration of the torments of passion (remember for instance "The Bronte Sisters " and " Wild Reeds "). For in " L'homme qu'on aimait trop ", the director, amongst other things makes a point of depicting a passion, and one of the kind he usually delights in : an overpowering, dark feeling that bonds a troubled heart to another. But the movie being based on a true story, let's begin by considering the facts. They concern the Le Roux affair, from its genesis in the mid 1970s to nowadays. This cause celebre, still pending after 37 years, involves Renée Le Roux, the manager of a luxury casino in financial difficulties; Agnès Le Roux, her daughter in conflict with her; Jean- Maurice Agnelet, a go-getter lawyer close to Renée but who turned against her after becoming Agnès's lover; and Jean-Dominique Fratoni, a mafia boss and Renée's business rival who gained Agnès and Agnelet's support in getting his hands on Mrs. Le Roux's establishment. An undeniably circumvoluted situation but be reassured, Téchiné gets by just fine and his account of the facts is both faithful and crystal clear. Of course, this is no documentary and Téchiné being Téchiné, his film cannot be just that. It also aims to be a work of art and manages to. To my mind, and contrary to what too many critics have said, "L'homme qu'on aimait trop" HAS style. The director is indeed not content to narrate his (interesting) story he also gives an artistic approach, thus intensifying the viewer's response to what they are shown.One of his objects being to condemn a world corrupted by money (our world in fact !), André Téchiné achieves it not only through dialogue but through art as well. A brilliant Mediterranean sky too blue to be true, the exceedingly glittering golds of Renée's sumptuous gambling- house, the unashamed hugeness of Fratoni's villa and the splendor of his garden tell more by contrast about moral ugliness than a verbal accusation: the more seductive the images are the more the baseness of this tainted world appears. And there is another field in which Téchiné excels, character study. The Gallic helmer delights in digging into the psyche of his characters and trying, like a detective of the soul, to unlock their mysteries. Does he really find the key to Maurice's childish dream to make it big, to Renée's desperate fight for winning back her daughter's love, to Agnès's consuming rage? Not really, but are these personalities really reducible to mere psychology? At any rate, they are three-dimensional and - accordingly -interesting.Of these three characters, the one that fascinates the director (and us as well) most is obviously Agnès. At the same time idealistic and greedy, fiercely independent and under the yoke of passionate love, ungrateful to her mother but not devoid of love for her, Agnès, contradiction personified, is the real focus of the film and through the mystery of her troubled character, she joins Téchiné's long list of tormented heroines (from the unbalanced Paulina in "Paulina is Leaving" to the Bronte Sisters to Alice in "Alice and Martin" among others). Embodying her is young Adèle Haenen, an amazing concentrate of vital energy. But the young actress, who is often like a bull in a china shop, also manages to translate effectively the insecurities of her character. Such a mix of bluntness and subtlety, of roughness and insecurity is hardly ever seen. She is surrounded by a solid cast (Guillaume Canet, Catherine Deneuve and the little known Jean Corso, who creates an all too believable Fratoni, and the vivacious Judith Chemla as Zoune, one of Agnelet's mistresses).Some find the movie overlong, but I personally did not; probably because Téchiné has a sense of tempo: he always cuts a scene at the ideal time, never too early nor too late. "L'homme qu'on aimait trop" is a worthwhile film, beautiful to look at as well as informative, intriguing and giving food for thought. Recommended.

"L'Homme qu'on aimait trop" is about the Maurice Agnelet vs Renée Leroux story. I am not sure that those who have followed this long criminal saga will learn anything. And not sure either that those who do not know it will be interested. Actors are quite good, but the directing is a bit flat, especially the end at the tribunal. Because the story is spread over 30 years, with new sentences made after the film was finished, it is clear that after watching it, we still don't know the truth. Was Agnelet guilty of killing Agnes Leroux, probably, was it right to send him 20 years in jail, without any corpse, any car, and any strong evidence, may be not. This film will at least let you understand well the roles of all the protagonists involved in one of the strangest disappearance (Agnès Leroux) and unpleasant suspect (Maurice Agnelet) of the seventies in Nice.