Beautiful Lies was the first Audrey Tautou film I saw in a cinema. Up until then I had only watched a variety of her features in my university’s lecture theatre and the series of bedrooms I have inhabited since that time. I can’t say whether or not the cinema enhanced my overall experience/opinion of this film or not as when I re-watched it for the purpose of this review I realized that the intimacy of the characters and plot (much like most of Tautou’s body of work) is just as striking in the comfort of my armchair as it is watching it on the big screen.
Whilst you would be correct in the assumption that Audrey Tautou plays the girl in and out of love in this dram-rom-com, she once again makes a departure from the stereotypical female lead, playing successful hairstylist/businesswoman, Émilie, a woman who is quite frankly unlikable for a good chunk of the film (in actions only; gosh, I’d never not like Audrey Tautou). Émilie is the kind of shirty woman who can bring her staff and customers to sobs in a heartbeat. She thinks she knows best and has no qualms about practicing this, which brings about many of the film’s more comedic and dramatic moments.
Jean (Sami Bouajila) is the handyman putting the final touches on Émilie’s salon. After developing a strong crush on Émilie he writes her an anonymous love letter which she, directly in front of him, shrugs off, crumples and deposits in the bin. Elsewhere, Émilie’s mother (Nathalie Baye) is falling ever deeper into a crazy depression after her husband left her for a young woman. The inspired romance of Jean’s letter strikes Émilie and she forwards it to her mother, subsequently struggling to keep up the ruse of an anonymous romance with inferior soliloquies. Numerous he-loves-her, she-loves-anonymous, he’s-with-her-but-now-she-loves-him twists and turns later and we’ve got a film packed with enough awkward romance and drama to remake Friends, but funnier, and French.
Writer/director, Pierre Salvadori and co-writer, Benoît Graffin once again (amongst others, they collaborated on Priceless, their first Tautou film) expertly craft a series of misunderstandings, romantic smackdowns and childish bickering without ever crossing the line into the melodramatic, making our investment into each and every romantic thread worth the meandering it takes to get to the pay-off. With colourful cinematography that is as lively as its clever script there is rarely a moment of down-time, and the human performances put in from all are exceptional. Like many French dramatic romantic comedies, this is not just sniffles and ice cream; there is so much more character and depth to every aspect of the world these people live in. Without intentionally being hyperbolic, where funny, dramatic romance is involved, it really doesn’t get much better than Beautiful Lies.