AniInterview Sorry, this movie sucks

Smartorhypo Highly Overrated But Still Good

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

MartinHafer I am sure that there are many out there that enjoyed this film a lot more than me and I think this film is a wonderful example of a film that you'll either love or hate. This is because the idea of people breaking into lip-sync songs is pretty peculiar and may not be for everyone! I actually didn't mind this concept, but strongly disliked the execution. Instead of singing long numbers and perhaps dancing or getting into the moment, instead the characters sang a line or two or three from a song and then very abruptly stopped. The shift in mood was just too abrupt and the surreal moments were never allowed to develop and captivate the audience. It really was as if they tried to cram way too many songs into the film so they abbreviated them so much that the viewer was left confused by how disjoint the film was. A nice attempt at something different, but not especially worth seeing.

annaelle-simonet French movie lovers have known Resnais in a while now for his exquisite movies in the 50's-60's : Hiroshima mon amour, Muriel and his collaboration with German director Chris Marker; but also his more recent films like Mon Oncle d'Amérique, Pas sur la bouche and of course ON connaît la chanson. Another masterpiece according to me. Incredible acting and impressive mastering of both sound and image. The idea of having the actors sing well-known french songs out of the blue - but always corresponding to the situation - is fantastic and contributes to making On connaît la chanson a most entertaining movie. Besides that, Resnais develops a subtle meditation on the development of depression : all the characters have a nervous breakdown. The script, written by the talented Jean-Pierre Bacri and Agnes Jaoui, also acting in the movie, builds in that way. In life like in nervous breakdowns, nothing is what it seems. As all the characters try to hide their uneasiness, Resnais takes pleasure in always showing us things and twisting them so as to make them turn out differently : you think you're going to see a historic movie about the German occupation of Paris, and there you have the Germand General singing "j'ai deux amours, mon pays et Paris" !! When Camille and Nicolas meet, you think they know each other well, and it turns out they can't put a name on each other's face. Marc (Lambert Wilson) has cold, Camille thinks he's been dumped. And so on... That plus the witty situations make On connait la chanson a masterpiece because it is both deep and entertaining. Only problem, if you are not familiar with the French musical culture you might miss out on much of the comical effects of the movie. Still, great movie, great fun, always a delight to watch.

frankgaipa In the unapproximate center of "On connaît la chanson," find a marvelous joke that missed by everyone at the sold out SFIFF screening I attended. If you want to try to catch it yourself, then don't read on! I'm writing to those of you who didn't or won't catch it. Four or five characters are seated chatting or arguing, I forget, round a table in a busy restaurant. As you know from other comments here, the script incorporates line fragments from well-known French songs (kind of like those "hidden picture" puzzles in the dentist office magazine). As each occurs, someone bursts into song. One of our group, after an unremarkable, perfectly conversational pause, says "je ne regret rien," then pauses, as does everyone else round the table. They look at one another, everyone at everyone, the very clatter of the restaurant seems to pause, waiting, and for the only time in this film, nobody takes the cue. Nobody breaks into the Piaf standard.

Ruby Liang (ruby_fff) Reminiscent of Jacques Demy's 1968 "The Young Girls of Rochefort" where characters now and then burst into song (and dance) to convey the story, and Eric Rohmer's flavor of intertwined relationships and coincidental meetings of characters that wrap around a tale, Alain Resnais' treatment here in 1997 "Same Old Song" has his characters burst into lines of songs in between dialogs. Irrespective of the mix and match of a male vocal coming out of a female character or vice versa, they are excerpted strains and words chosen from certain songs that propel the storytelling. It's as if the characters are thinking aloud in songs on the situation or predicament at hand. It is rather fun once you get a sense of what Resnais was trying to deliver. Being an Alain Resnais film, intellectual exchanges and philosophical tones are never lacking.Definitely reminded me of his treatment on 1980 "Mon oncle d'Amerique" where he has scientific mice experiment scenes juxtaposed against the human (brain) reactions to relationships and love. In this 1997 "On connait la chanson", his fascination with how people think - how the brain cells work in each of the characters, is again deftly demonstrated. At the last segment, where a theoretical explosion of the minds occur as gray matters collide - there was an appearance of a graphical ear-shape (in quiet wavy motion) in the center of it all - it's amazing to see how Resnais' mind at 75 was still so very much into studying and unraveling human emotions, offering us life lessons in love.The story centers around two sisters, Camille the tour guide who's also writing a thesis (Agnes Jaoui) and her popular and successful sibling Odile (Sobine Azema), and four men in their lives: an old flame of Odile - Nicolas (Jean-Pierre Bacri), husband of Odile - Claude (Pierre Arditi), writer of radio plays and quiet admirer of Camille - Simon (Andre Dussollier, more casually groomed than usual), and profiteering real-estate agent of Odile, fanciful beau of Camille and arrogant boss of Simon - Marc (Lambert Wilson). Typographically oriented, I can't help noticing the sequence of treatment to the credit roll at the end of the film: it started with a centrifugal look of the names of les chanteurs, followed by horizontal scroll from right to left of the main cast and crew, then a quick shooting upwards to facilitate the conventional bottom to top scroll of rest of the credits.It may not be a French film for just anybody, it certainly is delightful to experience. (An Artistic License and Merchant-Ivory Films production indeed!) The subtitles, translated by Ian Burley, were super: the lyrics actually rhyme in English, e.g., "resist", "exist", "egotist"!This film was dedicated to Dennis Potter, a cerebral genius he was. Check out his 1996 "Karaoke" (a multitude of colorfully complex characters) and "Cold Lazarus" (quite a sci-fi notion not completely implausible) - both centers around Albert Finney being the main character, and as always, a tour de force performance Finney delivered.