Customer Reviews

Look at Me

5 star:		(4)
4 star:		(8)
3 star:		(4)
2 star:		(1)
1 star:		(0)

 

 

"Look at Me" (Comme Une Image) is sophisticated, smart, witty, incisively written and a cogent look at New Millennium Celebrity and it's effects on family and friends.

As opposed to the USA, except for a few exceptions like Stephen King, in France, writers are revered and celebrated as much, and sometimes more, than Movie and TV stars.

Jean Pierre Bacri plays Etienne Cassard, a famous writer around whom several people revolve: his pretty but plump daughter forlornly named Lolita (Marilou Berry), his young trophy wife Karine (Virginie Desarnauts) and Sylvia and Pierre Miller (Agnes Jaoui and Laurent Grevill): Sylvia is Lolita's voice teacher and Pierre is an unsuccessful writer who lucks into a meeting with Cassard through the connection between his wife and her pupil.

Lolita is like her father is some ways, mostly negative though: she rails at her friends and family in a bratty way and though she resents her father's wealth and social position she has no qualms about asking him for money or using his name as a way a garnering friendships. On the other hand she is shy, too self-conscious about her Ruebenesque figure and in one scene doesn't have the guts to demand access to a party given in her father's honor.

Lolita craves a boy named Matthieu, who openly flirts and even kisses other girls in front of her and yet, when she meets someone who actually likes her for herself, Sebastien, she has no idea how to deal with him.

Bacri's Etienne Cassard is a smug, opinionated, stuck on himself emotional thug: he wants all the love and admiration yet offers nothing in return but ridicule and a kind of feigned love. He is rude to waiters, to cab drivers: all of those people that he feels are beneath him in social status. His idea of parenting is to complain to his young wife, while they are weekending in the country: "Can't you keep that kid quiet...I came out here for some peace and quiet."

Marilou Berry plays Lolita like the ultimate victim but, like her father, she can be irritating and irritable: she cries, pouts and generally acts like a big spoiled brat. But Lolita has a heart and is capable of love, if not the wherewithal emotionally to recognize it when it is 12 inches from her face.

The emotional world of "Look at Me" is the world of the dysfunctional: both emotionally and socially these people operate at the highest level...and because they are famous, they are tolerated at least and loved at best.

As directed and written by Agnes Jaoui and co-written by Bacri, "Look At Me" is about our obsession with the surface of things: if he/she is beautiful then he/she must be ok, happy, fulfilled. More to the point "LAM" is about how we've become obsessed with celebrity and how this pursuit of fame and fortune can obfuscate, alter forever and derange our lives and relationships.

"Look At Me" is ultimately then, an acidic look at the pursuit of fame, at the celebrity derived from fame and at the exorbitant price we must pay in human currency for it's fleeting, always ready to move on costly pleasures.

COMME UNE IMAGE (LOOK AT ME) is a tough little film that practically defies the viewer to love it. Rated as a comedy, it has few chuckles of the usual kind, but the smart tidy script delivers more of the Reformation-type comedy - wit with a bite. Writer/director and star Agnès Jaoui (her co-author is her ex-husband Jean-Pierre Bacri who also stars) is obviously an intelligent, observant, caustic chronicler of contemporary French society who dotes on celebrities at the expense of their own self-respect. Not a single character in this film is likeable, but each one is fascinatingly interesting and a bit warped. Their interaction provides the venom that in Jaoui's hands raises the bar on the range of comedy.

Étienne Cassard (Jean-Pierre Bacri) is a famous writer whose latest novel has been 'transformed' into a schmaltzy film about which he is loathsomely embarrassed. He is caustic, acerbic, and emotionally negligent of both his grown obese daughter Lolita (Marilou Berry), who devotes her resentful life in an attempt to being a famous concert singer, and to his new wife Karine (Virginie Desarnauts) and little daughter. Lolita's music coach is Sylvia (Agnès Jaoui) whose demands on her students reflect her frustrated life being married to an unknown author Pierre (Laurent Grévill). Odd paths cross and it is through Lolita's influence as the daughter of a famous writer Étienne that Sylvia arranges for Pierre to join forces with Étienne and gain acceptance and popularity, but the consequences include Sylvia's increased tutelage for Lolita and her group of fellow madrigal singers.

Lolita comes the closest to being a character about whom we care. She is distraught about her weight, her distant father, her stepmother and stepsister, her inability to gain the affection for the boy of her dreams, her struggle to become a significant performer - all of which prevents her from recognizing the man who could salvage it all - Sébastien (Keine Bouhiza) who literally falls at her feet!

All of these characters interact in complex and at times trying ways, ever cognizant of the 'authority of celebrity' and the results of these engagements form the body of the film. The acting is on a high level, the dialogue is crisp and smart, and the musical background for this mélange is a gorgeous mixture of classical music ranging from Buxtehude through Schubert ('An die Musik' plays a big role!) and many others. This 'comedy' is more intellectual than entertaining, but if wit and elegance of acting brings you joy, then this is a film to see. In French with subtitles at a long 2 hours! Grady Harp, August 05

I believe that films are suppose to make the world a better place. no body is perfect. there is no "hero".

Look AT ME is a film about people (not perfect people) made for people (as perfect as we can be). it is gentle and touching and made me think how can I becaome a better person, it made me laugh and cry about our behaviour and at the end, filled me with hope and with love.

"look at me" is a human need

the acting, score, dialog, editing are faboules. I wish to thank the director for giving me another gift.

"Look at Me" is a talky but generally interesting French drama about a teenage girl's attempt to earn the love and recognition of her strangely distant father. Lolita is an overweight, aspiring singer who has lived in the shadow of her parent, a self-absorbed but successful novelist, all her life. Even though Etienne seems to care for his very young second wife and five-year-old daughter, he appears to have little interest in Lolita. Indeed, when he isn't completely ignoring her, in public or in private, he is wounding her with deprecating comments about her talent and weight. In the film's other major plot strand, Lolita's voice coach, Sylvia, is also married to an author, Pierre, who has been having trouble getting published of late, until she uses Lolita to secure him an introduction to the young protégé's father.

For the most part, "Look at Me" doesn't go for big flashy dramatic scenes but rather tells its story in a low-keyed way by having its characters interacting in traditionally continental social settings like restaurants, taxicabs and vacation homes in the country. Virtually all the characters suffer from some form of unhappiness or depression caused by their inability to create the lives they want. Lolita spends most of her time brooding over the fact that she can't get her father to acknowledge her existence, let alone support her in her endeavors. One of Lolita's biggest complaints is that people - and that includes boys - tend to befriend her solely as a means of "getting to" her famous father. Even her music teacher uses her for that purpose (though this is one time when Lolita seems unaware of it). So paranoid has Lolita become on this score that she even keeps at arm's length a young man who is obviously genuinely interested in having a relationship with her. The two authors, to varying degrees, have feelings of inadequacy and frustration brought on by either self-doubt about their talent or the fear that have begun to "dry up" as a writer.

For the most part, this is a compelling tale about people who feed off one another and compromise their values to get what they want. Etienne is, in many ways, the most interesting character because he seems genuinely unaware of the callous way he treats others, but he is also the most frustrating in that some of his most boorish actions in regards to his daughter don't always ring totally true. For instance, it is highly unlikely that even he would get up and leave in the middle of his daughter's concert performance to take a stroll outside, then completely ignore her at a party he throws for her afterwards. Too often, we feel as if he is being mean and thoughtless more as a plot device than as a genuine reflection of his character. The film's other intriguing secondary character is Sylvia, the music teacher, who really seems to be the voice of conscience in the story.

Despite that flaw, "Look at Me" succeeds more often than not at weaving a complex tapestry out of a variety of interesting and colorful characters. To that end, the film features fine ensemble work by Marilou Berry, Jean-Pierre Bacri and Agnes Jaoui, who also co-wrote and directed the movie.

Sometimes there's a fine line between convincing and intriguing. Here's one of those cases--a French film that cries out for recognition, exactly simulating its title and its female lead, an overweight vocally talented girl in her 20s whose father, an arrogant prig, is a successful writer/publisher and with whom she has an abrasive relationship because of it.

The film convinces because there is much to admire in the often intelligent dialogue and the acting as well is quite good. But just as often, the focus of the interchange between characters is so petty that just as the co-writer/director/actress of this film (Agnes Jaoui) says in one scene of a specific character, it's "tiresome".

The casting is right on target and the acting, as noted, is excellent. But to continually have characters squabble about the same thing over and over again noticeably takes away from the substance of the film. Yet one of the pluses here is the music--a glorious panorama of Schubert songs, Mozart, Beethoven, Spanish folk-pop and even American hip-hop, and they all work. It's actually a huge relief when Lolita (the overweight girl) sings with her group because we are relieved from the tiresome pettiness of dysfunctional family interchange and can listen to some truly uplifting sounds.

This is not really a bad film, but instead is one which, in repeatedly stating to its audience "attention will be paid", decidedly lessens its impact.

The breath of fresh air - refined, funny, ironic, in the best traditions of the Chekhov's plays, this movie is a triple triumph for its writer/director/star Agnes Jaoui. "Look at me" is the story of 20 years old Lolita (rarely a name mismatches a girl so much. Lolita is a pudgy young woman with a very low self-esteem even though she's got a beautiful voice and passion for singing) who desperately craves her father's attention. Ironically, her father, one of the most famous writers in France, known for his deep, observant and subtle novels is an arrogant, self-centered, and self-involved man who hardly acknowledges Lolita - just to criticize her. He never finds time to listen to the tape Lolita made especially for him in hope to get his interest and approval. The beauty of the script and the movie is that Agnes Jaoui does not use only black or white colors to paint her characters. They turn with their different facets to the viewers and the film itself is a precious gem. The acting is superb by everyone. As a bonus treat, we will hear some of the most beautiful music every written, including the pieces by Monteverdi and Handel.

9/10

Etienne Cassard (Jean-Pierre Bacri), the successful French novelist in Agnes Jaoui's "Look at Me," does not take fame very well. He hates most of the men and women who make as much money he does. He has little tolerance for people who don't understand his short temper and limited patience. He has a cruel sense of humor, which makes us question if he could have been successful in a profession other than writing; were it not for his fame, his friends and family would likely abandon him, so fed up they would be with his egotism.

Cassard's nasty temperament makes us wonder: has he always been like this? Has he always been a jerk to everyone, even his closest friends? Or is he obnoxious because he's famous, because he knows that no matter how terrible he acts, he'll have people admire him?

Another writer in the film, Pierre (Laurent Grevill), who struggles to get his novels sold at a dozen bookstores, has a personality the opposite of Cassard's. Pierre has a high tolerance for people he doesn't get along with, including his overworked wife. He's friendly with his friends and colleagues. He's well-liked and amiable, not because of his fame, but because he has a congenial character.

When Pierre finishes his latest book, he's doubtful that anyone will read it. But he gets a phone call and discovers that Cassard likes it. Cassard wants to meet Pierre. When they meet, Pierre does everything he can to please Cassard, eating food he hates, keeping his mouth shut when faced with criticism and ignoring the suggestions of his former publisher regarding the release his book. Once Pierre is faced with the prospect of fame and recognition, he's willing to abandon his old friends and his old ways. His loss of judgment and individuality don't occur to him.

"Look at Me" has a strong cast of other unique characters. Cassard's oldest daughter, Lolita, resents her father because she thinks all her relationships are built around his fame. Pierre's wife teaches singing to Lolita, and her husband's involvement with Cassard troubles her as she notices the way Pierre changes. And Cassard's wife, much younger and prettier than her husband, feels her hard work in raising their daughter is unappreciated. All the characters except Cassard share a common feeling: they all desire attention and recognition, whether it's from their spouse, their father or their colleagues. Everyone except Cassard wants their talents to be noticed, and, of course, the irony of it all is that Cassard, the one man with all the fame and attention he could ever want, hardly cares for it.

This is a very insightful film, keenly aware of the ways fame can change relationships. The two writers of the film, Bacri and Agnes Jaoui, playing the two main characters, have a clear understanding of how to juggle nearly half a dozen central characters, giving ample time for each character to move the story along or to illustrate a central theme.

"Look at Me" has a different perspective on fame from American films, showing how people change in the way they relate to one another, instead of showing how fame will stereotypically, say, make someone go on drug binges. The perception that fame can make someone delve into lots of drugs (or any other agreed-upon dangerous thing) is of course sometimes an accurate one, but it's refreshing to see this film, which focuses on the subtler ways a person can change when faced with overwhelming recognition.

This is simply one of the best films I've ever seen. The acting is superb and subtle, and watching the various characters sell out, or struggle not to sell out, or realize that not everyone sells out, is vivid, awkward, heartbreaking, and uplifting. The many deeply awkward moments are handled brilliantly, with no cheap shots or cheap resolutions. These feel like real -- if quirky and sometimes troublesome -- people, all trying to muddle their way through interesting moral and social dilemmas. And the music is gorgeous.

I sincerely hope that no one has to have a father like the one portrayed in this movie. This guy is so bad that he should be locked up somewhere where another person can at least try to reciprocate all the nastiness he showers everyone around him with. This is a movie that depicts complex relationships between family members, friends, teachers. It helps us understand that wanting success or acceptance is not bad, for as long as it is not hurting other people around us. It is so satisfying in this movie to see that some characters do grow up as time goes by and at the end they can make choices that are morally righteous. There are some really funny moments in this movie and the fact that it is French makes it all the more endearing.

I'm looking to find a better title for this review of this very fine film.

Actually I think that the translators could have found a better English title for the film. "Look at Me" seems like a weak title for such a strong film.

The main character, the one who so desperately wants her father to look at her, is Lolita. Obviously named by her mother who left long ago for a yoga camp in the Antilles, Lolita has to bear the irony of being named after a sexy blond nymphet. This Lolita is far from the appearance of her namesake; she is large, plain-faced, and steeped in self loathing. On the flip side of her despair, though, is her ambition to be a Someone in the arts. First she tried acting, failing that she goes into music. Her father. Etienne Cassard, is a famous novelist and can afford to finance her whims but he obviously feels that she is being unrealistic.

Etienne has all of the self-love that Lolita lacks. Or perhaps he lacks it, too, but has managed to become successful, which provides him with adulation, if not the real thing and a very young, pretty new wife, (who could well be named Lolita.) The one character who remains a mystery to me, is his male companion, a sort of assitant,who puts up with Etienne's insults and asks for more. He does say that he used to be a "terrorist" and that Etienne saved him from all that, and he credits him with saving his life. So maybe Etienne is not all bad, after all. Maybe he was nicer before his success? He also offers Lolita's sort-of boyfriend,

Sebastien, a job without being asked.

It is part of the intelligence and appeal of the film that the characters are not one-sided. Although we are supposed to side with Lolita, who pathetically tries over and over to win her father's attention, she is not without blame, either. She throws her friend, Sebastian over when she thinks she has a chance with the cuter, blonder, Matthieu. Sebastian is the name this fellow uses, to cover an Arabic name. Why he falls for Lolita at all, when she treats him so poorly, is a mystery to me. Is he impressed by her social milieu? It doesn't seem to be the case. Maybe he really likes rude, complaining, whining, fat girls.

However...in spite of these inconsistencies, I really liked this film. The heart and soul of it is Agnes Jaoui, the director and one of the stars. She plays Sylvia, who is the moral compass who saves the film from being just another "interesting" display of life among the neurotic, rich and famous. Perhaps it's significant that she is one of the few "principles" who practices an art at the grass roots level. She is a voice coach and doesn't seem to have ambitions to become a diva, herself. She comforts and coaches, not only a group of amateur singers, but her husband,Pierre, another writer, who has his own case of self-loathing.

Pierre's luck changes when he meets Cassard, co-incidentally through Sylvia, who happens to be Lolita's voice coach. Sylvia, is not above a little corruption herself, as she changes her plans to drop coaching Sylvia's amateur group when she discovers she is Cassard's daughter.

Pierre is accepted into Cassard's inner circle, and drops his old collaborator and apparently a lot of his old standards. He even decides he likes rabbit, when Cassard serves it, although he has always hated it. His book suddenly takes off and he gets his piece of the pie of fame and fortune. One wonders how long he will remain high on the cycle of success and when will he decline as Cassard is doing. When will Cassard become jealous of Pierre's fame and turn his nastiness on him?

If all of this sounds very unpleasant, and it is, somehow the director has managed to imbue this film with warmth and beauty. The music, for one thing, is transcendent. Lolita rises out of her heavy slump when she performs, even if she never quite impresses her father. The old church in which the concert is performed is a lovely setting for the ending. It's as if the characters all manage to rise above their pettiness for a little and shift gears. Sylvia confronts Sebastian on his heartlessness and he comes around a little and has what probably is, for him, a pretty nice talk with Lolita. Lolita realized that Sebastian has cared for her for herself and is not just using her to meet her father. Best of all, Sylvia, in a very nice final move, leaves her spineless husband and, on the way out, turns up Lolita's tape loud and clear.

I recently saw another French film, Fat Girl, directed by another female director on the same theme. On a scale of one to ten, I give Fat Girl, a one and Look at Me a ten!