Pas sur la bouche

Plot synopsis:
Act 1. Gilberte Valandray (Sabine Azéma) is the socialite wife of rich Parisian businessman Georges Valandray (Pierre Arditi) from whom she has concealed a previous but unvalidated marriage in America, being aware of her husband's belief in the indissolubility of a relationship based on a first sexual experience. Only her spinster sister Arlette (Isabelle Nanty) knows the secret. Secure in her husband's confidence in her, Gilberte now encourages a circle of amorous admirers, as flirts but nothing more, including Faradel (Daniel Prévost), a middle-aged dilettante, and Charley (Jalil Lespert), a young avant-garde artist who is also pursued by Gilberte's young friend Huguette (Audrey Tautou). Gilberte is then aghast to discover that her husband has invited to dinner an American, Eric Thomson (Lambert Wilson), with whom he is about to sign a deal, and who is none other than her first husband. With embarrassment Gilberte appeals to the truculent Eric to preserve her secret.
Act 2. Ten days later, at a soirée at the Valandrays' house, preparations are in hand for a performance of Charley's new play "Âmes primitives", set in Mexico. Eric is considering whether to renew his marital claims upon Gilberte, who seeks to deter him by demonstrating that Charley is her lover. Faradel offers the use of his bachelor flat to Charley who invites Huguette there - and Gilberte. Meanwhile Eric, who is about to take over the lease of the same flat himself, gives the address to Georges.
Act 3. The following afternoon, all the characters arrive under different pretexts at Faradel's bachelor flat, to the bemusement of the concierge Madame Foin (Darry Cowl). Just as Georges thinks he has discovered his wife's secret, Arlette declares that it was she who was Eric's first wife and now they are reconciled - and Eric upholds the lie, delightedly overcoming his longstanding horror of being kissed on the lips. Meanwhile Charley has been happily seduced by Huguette, and Georges and Gilberte are restored to peace of mind.

Tags: romantic

Review:
This is classic French farce, very theatrical with a 1920s score, entirely interior sets (best being the 3rd act bachelor pad) and ridiculous intertwining relationships.
It is tempting to see it almost as an Amelie remake, complete with lush visuals and two leads from that film.
It has the same romantic view of French life, the same emphasis on relationships, the same reliance on a sparkling performance by Tatou.
It is slow, and hard to follow with subtitles - you really need to speak French to get much out of this (esp the excruiating accent of the American).
Some interesting little touches - the spoken credits at the start (very Godardian!) and the way that characters leaving the stage just vanish.
Sumptuous French Feasts of all Kinds by Resnais.
Alain Resnais was extremely comfortable with opulence in 'Last Year at Marienbad', and Alain Robbe-Grillet felt right at home in this, with his serialized writing.
I hadn't thought that much about this taste for luxury till I saw his 2003 film of Andre Barde's 1925 operetta, 'Pas Sur la Bouche.'This is easily one of the lightest, most exquisite filmed musicals ever made, and quite as unexpected a thing as possible in this age.
There are some modern aspects: the luxury is greater luxury than in the past, but does not ever seem like gluttony; it is not like an exhibition of 100 Burne-Jones paintings, for example, which was about the number in a 1999 exhibition at the Metropolitan Museum here--and that many at once makes one fairly sick.All of the songs are charming, and even the one ugly one is (but only because it is only one; it is truly unpleasant to the ear and could have been styled better even with such meager material): this is the song that Eric Thomson (played by Lambert Wilson) sings with Arlette (Isabelle Nanty) when he is discovered to be doing business with George Valandray (Pierre Arditi) as well as being Valandray's wife Gilberte's (Sabine Azema) first husband (their American-produced marriage was not recognized upon her return to France, although her reasons for dissatisfaction with him are not made entirely clear).
Thomson's French seems to have disappeared and he keeps responding to Arlette with "Whaddya say?" and "Whaddya know?" and this is irritating and does not even particularly form a purposeful dissonance with the rest of the graceful and casually elegant Parisian-style music.
However, it is followed quickly by a group song when everyone is about to sit down to a "simple meal," which looks rather more as if composed by Escoffier or Pelleprat, and, very campily, Thomson's French reappears as if by magic as he joins all the French people in their tuneful paean to the repast they will consume (in silence, one wishes, but cannot hope for.) This "magical device" is subtle enough to be a considerable improvement over the "spontaneous" bursting into song by the wedding party at "I Say a Little Prayer for You" in 'My Best Friend's Wedding.'The luscious orchestrations of the songs remind one of the Marguerite Monnot-Alexandre Breffort score for 'Irma La Douce'--as in "Dis-donc," and decades of this kind of sound at the Casino de Paris, at the Folies Bergere.There is a lot of red, many plummy reds, in the lavish sets, but it is not discordant.
One does notice that the film is almost entirely set in interiors, and the courtyard of witchlike (and sublimely hilarious) Mme. Foin (Darry Cowl) is about the only contact with a little remembrance of sky one sees; but this is usual for sex farce.Everyone is involved with everyone, and it's so silly that only in the viewing does it have life; in the retelling it doesn't have a grain of substance, so I am not going to bother.
The players are uniformly characterful and theatrical, and Sabine Azema is superlatively middle-aged-sexy and spirited, while Jalil Lespert has the biggest Frenchest face since Maurice Chevalier: He's truly a major talent.
Audrey Tautou seems to be imitating Twiggy in 'the Boyfriend' sometimes, which is cool enough..
Like several other reviewers I was taken to the film 'cold' without knowing anything about it, and after several minutes was expecting the somewhat lacklustre tunes and stock-farce characters to tip over into something edgy and contemporary.
However is this such a bad thing?
Given the French predilection for unflinching realism and tragic endings, Pas Sur La Bouche can be enjoyed as a salute to the traditions of the Comedy Francaise, an expression of nationalist (anti-Brussels?) sentiment, and as a crafted product as lovingly detailed as a reproduction Deco sideboard.
One is almost expected to read afterwards that Resnais had an ironic or iconoclastic subtext in mind, but the film seems to be charmingly irony-free throughout.
There are no patronising modernist jabs at the shallowness of pre-war bourgeois entertainment, and in fact the period is recreated with a warm and sentimental glow.
It can be argued in fact that the play has been not so much adapted for the screen as embalmed, for there are definite longueurs, the singing voices are almost uniformly mediocre, and the lack of varied or outdoor settings does detract.
All in all, a charming, civilised and unexpected entertainment from one of the self-styled intellectuals of French cinema, and a brilliant recreation of an ensemble of now-forgotten French 'types'.
To get an idea of precisely how far comedy has 'advanced' in 70 years, compare with Legally Blonde or My Best Friend's Wedding and you'll see my point..
Gushy French musical for doe-eyed centenarians.
The trailer was sophisticatedly blasé  suggesting that Alain Resnais had cast Audrey (Amélie) Tautou to target the American market, and that lantern-jawed Jalil Lespert would add to the film's swoon factor.
So, expecting a saccharin romcom I had failed to do my homework on Google and I woke up three minutes into the film to a startling revelation.'It's an operetta!
No one told me!'In our thrillseeking contemporary culture accelerated by Karen O's screams and the mentholated bandwidth of broadband wifi, people could question the 2-hour time investment required to watch a bigscreen adaptation of an obscure French-language three-act operetta which was first performed in 1925.
Especially one which glorifies the frivolity of the Parisian jetset via music and rhyme, replaces location shots with deliberately stagey sets, and conceals a skeletal plot under the billowing skirts of witty ditties and fully-orchestrated vignettes.The core tune, 'Pas Sur La Bouche', is typical of the film as a whole.
It recounts how Eric Thomson (Lambert Wilson), a 'pudibond' (prudish) American businessmen, is too pent up to kiss girls on the lips.
Four nubile sirens entreaty the fleeing entrepreneur for a covert snog, and through basic studio boomwork we are subjected to half-length shots of turgid choreography as the frigid, bespectacled yank retreats up the successive tiers of a grandstand.
Does Mr Thomson suddenly succumb to the onslaught, staging an impromptu gangbang with the four nymphettes and confessing his concupiscence to a nearby priest?
Of course not.
Eric Thomson has never heard of Viagra.
This is an operetta.Which is fine if you're about 115 years old and you're into the genre.
'Pas Sur La Bouche' certainly seemed like a jolly, nostalgic outing for its dapper actors  especially the slinky, hammy Sabine Azéma and the neurotic, unkempt Isabelle Nanty.
Wouldn't we all leap at the chance to get dolled up in chintzy art deco garb and to dish up outmoded verbal conceits - in song - to the cinemagoing masses?
The plot is the kind of open-door/close-door farce that works well in theatre.
Wealthy Socialite Gilberte (Azéma) hides her former marriage from Magnate husband Valandray (Pierre Arditi).
Socialite flirts with Beau (Jalil Lespert), a struggling artist.
Beau is courted by Belle (Audrey Tautou) yet he prefers Socialite.
Belle confides in Socialite's Spinster sister (Isabelle Nanty), who assumes the role of matchmaker.
Socialite's American ex-husband (Lambert Wilson) returns to buy Magnate's business.
After much silliness all ends well.So far, so Molière.
The songs (by librettist André Bardé and Maurice Yvain, the Tim Rice and Andrew Lloyd-Webber of their day) are jaunty and innocuous.
They offer plenty of scope for the sort of theatrical winks and to-camera headtwists occasionally glimpsed in Abba videos.
The standout tracklist below - with rhyming summaries to replace what can only be approximate subtitles - is an appeal to a less faithful rendering of the vaudeville format in future."Choeur d'entrée"-Rich girls detail their passions for retail, fashions-Subplot rake is overt about his chasing of skirt-Magnate lets rip with his pet discourse: that devil, divorce."Comme j'aimerais mon mari"-Socialite lauds the botox invigoration of toyboy flirtation-Reveals her projection of six-packed ab onto spouse's flab"Gilberte et Valandray"-Socialite and Magnate engage in kitchen cajoling during lobster-boiling-A warbled feuilleton about riches, kisses, dresses, bouillon"Quand On N'a Pas Ce Que L'on Aime"-Wallflowers debunk the inconstancy of hunks-Hearts flutter, lips quiver, Spinster splutters, Belle shivers"Pas Sur La Bouche"-Stiff, suited yank avoids lolita hanky-pank "Sur Le Quai Malaquais"-Beau and Belle muse their future caress at a Seine-side address-Dénouement will follow, with entire cast in towAnd that's about it.
Burst into tears, not song.
If you want a timewarp back to lavish musicals about Paris, dust off some old videos of Funny Face or Gigi and tap the heels of your black-and-white correspondent's shoes to Maurice Chevalier's 'Sank 'eavens for lee-toll gulls'.
It seems that the octogenarian Alain Resnais took heart from the box office success of 'Huit Femmes', François Ozon's singing, dancing allstar vehicle aimed purely at humiliating France's bouffoned-and-tucked grandes actrices.
And what with the cinematic euros pouring into musicals of late - Topsy Turvy, Moulin Rouge, Chicago  surely this operetta would provide succour to French audiences sickened by the rewind rape scenes of 'Irreversible' or the porno violence of 'Baise-Moi'?
Alain Resnais, darling of the avant garde, continues his journey back to the mainstream and, let's face it, BEYOND the mainstream, with this lush photography of even lusher decors and costumes by Vanity Fair out of Vogue.
Nothing wrong with that, of course, if you can get past the hypocrisy.
Here we have, set in the twenties, that old standby the second husband who has to cut a deal with his wife's ex, a sister-in-law and two ingenues thrown in for good measure with everyone breaking into song at the drop of a lorgnette.
Pierre Arditi does suave as if he invented it and whether by design or accident contrives to sound like Charles Boyer on medication;Mrs. Resnais, Sabine Azema does style as effortlessly as Astaire and Audrey Tatou has cornered the current market in gorgeous.
The first 60 seconds are wonderful.
Resnais, wow!
The genius who brought us Hiroshima Mon Amour takes on the challenge of making a 1930s French musical in vibrant colour.
The opening voice-over with old, embellished inter-titles was a nice touch.
Then the camera aperture opens (like the old hand crankers) on a black & white placard.
The camera backs off (or rather, up), suddenly showing us the surprisingly brilliant colours of an elegant table set for a tea party.
This is all in the first 60 seconds.Then the music starts.
A rather banal and forgettable diddy featuring an unconvincing chorus of 3 girls blabbering some nonsense which has no relevance to the film (and yes, I speak French, so I can't blame it on the subtitles).
Those characters whiz out the door and are replaced by more people who break into an even more forgettable song.
Then they leave, and finally Audrey Tautou appears and we hear our first appreciable dialogue 15 minutes into the film.I'm not sure what Resnais intended by starting off with such a yawning waste of time & musical cacophony.
There is absolutely no familiarity with any of the characters.
We don't even see their faces half the time (as Resnais seems too intent on showing off the expensive scenery to care about the actual people in front of the camera).
People flit on & off stage like moths around a lamp, and we the audience are unable to focus on any particular person or plot.
It's as if you were to take every episode of the Brady Bunch and cram it into a 2 hour movie.
With bad songs.The only thing that kept me watching as long as I did (1 hour) was that I was looking at the camera techniques, lighting and scenery which were all, I admit, excellent.
But is that enough to hold your attention for 2 hours?
Maybe tomorrow I'll try watching the end.
I have more important things to do.
Almost Perfect!
It Should be in the West End or Broadway!.
In my opinion, I didn't know that this was a musical comedy.
The French make the best films around with character driven story lines.
This film has a first rate cast but I didn't care for Lambert Wilson's performance as the American, Eric Thomson.
I did love Isabelle Nanty as Arlette, the old maid.
She was perfect and memorable.
Arlette's sister, Gilberte, has a problem.
She has three men in her life including her unsuspecting second husband who thinks he's her first, her first American husband, Eric Thomson, who comes to Paris on business, and a young male artist/teacher Charly who prefers older women.
The film is first rate in art direction, costumes, music, casting, and writing.
I felt Lambert Wilson was out of place and out of tune as the American.
But still, this film has memorable characters and can cheer you right up..
Delightful to watch.
This film is about a woman whose husband is not aware that she married an American guy before.
Chaos breaks out when the American husband is invited to their home.The film takes place entirely inside the beautiful residence of a rich couple.
Sets are lavish, costumes are dazzlingly beautiful as a result.
The songs are fun and got this nostalgic feel to it.
The entangled relationships between the seven characters are entertaining to watch, and they kept me intrigued as to how things will turn out between them.
Even though it was not easy to catch up with the subtitles, it was still delightful to watch."Not on the Lips" is a fun, light hearted, old style musical.
I was told that this style is called "operetta", and I am liking my first exposure to operetta..
Not at all what I'd expected or hoped..
If I hadn't read his name on the DVD cover, I never would have suspected that this rather gushy and old fashioned musical was made by a man so closely associated with the French New Wave.
In fact, the film is so far from that, that I wonder if back in the 50s and 60s, New Wave auteurs would have absolutely hated this type of film--it's so...so...unreal.
And, it seems to have little to do with so many of his previous films.
This isn't necessarily a bad thing--just a very surprising thing.What I also found a bit surprising was the amount of praise some of the reviewers gave this film--especially when there are so many better French musicals out there.
The songs in this film were simply not particularly interesting and the characters all seemed so bland and stereotypical.
If I had to see another rich person who fretted about how hard it is to be rich or get a good sale price on a designer outfit, I was going to puke.The bottom line is that like American musicals, not every French musical is gold.
This film is not another "Les parapluies de Cherbourg" (UMBRELLAS OF CHERBOURG or "Huit Femmes" (EIGHT WOMEN) and despite the presence of Audrey Tautou, I can't see much reason to recommend it as anything other than a dull oddity..
Alain Resnais, like a lot of brilliant people, can be interesting even when he's not very entertaining.
But in Not on the Lips, he's not even really that interesting.I liked the way the movie began, with the cute credits and the opening shot with the women singing.
At that point I had high hopes.
As the empty-headed characters chattered, I thought perhaps this was an Oscar- Wilde/Noel Coward sort of thing that would mock the upper classes.But as I watched further, I began to feel that instead, this was just a rather tedious trifle that has nothing to say.
So I looked it up on wikipedia, which says it's an old operetta and that Resnais purposely made it as originally intended.
Apparently that chatter was supposed to be interesting.I rather liked the music, although it's disconcerting when the subtitles don't bother to rhyme (sometimes they do, sometimes not).
It's got a nice look to it.
But about a third of the way through I just couldn't see how I could stand anymore of this superficial claptrap, and I stopped watching..
A conventional stage farce, not very adventurous but amusing.
A 1920s musical farce, with a fine cast.
Most of the music is uninteresting, except for the bigger production numbers.
The sets are fine, the costumes are gorgeous, and the plot complications very amusing.
Sabine Azéma is glamorous as Gilberte Valandraye, the central character, married to Georges Valandraye (Pierre Arditi), a sophisticated husband with a crackpot theory about feminine naturewomen properly bonded with their first lover/husband will always be faithful.
So Georges, who is exceedingly suave, worries not at all about the way men court his wife, and he does not know his new American business partner Eric Thomson (Lambert Wilson) is also his wife's first husband.
Eric has a quirk, too: he will not kiss.
Meanwhile, one of Gilberte's suitors, a young multimedia artist named Charly, pursued by young Huguette (Audrey Tautou, mostly wasted as an ingenue), makes everyone jealous, and the other suitor, Farandel (Daniel Prévost) does not.
The last scene takes place in an elegant bachelor pad à chinoise, in which everything is first confused impossibly and then sorted out.
Wondering what it means that Resnais, the maker of such tonily strange films forty years ago, now makes a conventional farceI think it would be fruitless speculation.