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3.8 out of 5 stars
3.8 out of 5 stars
Look At Me [DVD]
Format: DVD|Change
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on 7 April 2016
Moderately good French film but not anything to get excited about.
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on 6 June 2010
I agree totally with the comment about Agnes Jaoui being some sort of national treasure in France. Her "Les goutes des autres" is a masterpiece of film making and this effort shares it's mult-layered and clever construction but doesn't quite have the same degree of humour which made the other such a delight. This is probably due to the fact that the juxtaposition of industry and art allowed the opportunity for sharp observations between the relationship of both fields. Here, the theme is more about social skills or lack of them in the case of the film's best character! This effort concentrates upon two couples, the men both being writers, one already established and the other on the cusp of success. The wife of the latter is the music coach to the former's daughter and this is the thread that essentially binds all the characters together. Additional characters like agents, publishers and the daughter's would-be boyfriend all get woven into the tapestry and, after a slow start during which the foundations of the story are built up, Jauoi (who also acts in this film) allows the film to develop by allowing the character's with their conflicting interests to bounce off each other in wry fashion. Foe me, it is the sparkling dialogue which marks Jauoi's films as being so agreable.

Essentially, the main thrust of the film concerns the daughter of the older author who is trying to establish herself as a singer and her father's spectular lack of interest despite her talent. The daughter, who is clearly within her rights to feel totally agrieved, is similarly insensative to her would-be suitor. Jean-Pierre Bacri is a mainstay of Jauoi's films (in real life they are partners) and, as opposed to the rather bumbling characters in "Les goutes" or "Let's talk about the rain" , plays in this film the selfish father with absolutely no empathy with his daughter. Whilst this is seemingly against character from other films I have seen him in, Bacri is the best thing in this film and much of the appeal in the whole effort comes from watching the insensitive manner with which he manages to blindly tread on everyone else's toes. No less comic than his other creations, his caustic remarks are amusing. However, all the characters are all nicely drawn and Jaoui's sharp eye for human behaviour ensures that there is much in this film to relish. Effectively, this film is an ensemble piece. The Graham Norton-esque TV interview to promote the new book by the "new generation author" and the book launch allow some cynical observations to reign which did make me smile.

I feel the analogy with Woody Allen is extremely inaccurate as the humour is very subtle and the entertainment is reliant upon the sharp and perceptive dialogue as opposed to anything that will make you laugh out loud. If anything, the observations in this film are more akin to something like the BBC's "Outnumbered" but obviously raised to suit an audience that is expecting to be challenged a bit beyond the 30 minute mark. As with all her films, the construction of the storyline illustrates genuine skill and whilst this doesn't quite achieve the magnificance of "Les goutes.." I felt that this was more satisfactory than "Lets talk about the rain" where the lose ends of the ensemble cast were not allowed to join up in the satisfying fashion of her other films. If you enjoy gentle, well-observed and intelligent humour, this is definately worth checking out.
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on 3 March 2010
Agnes Jaoui must by now be regarded as a Cultural Treasure in France. She deserves it. Her work for the screen is sharp, witty, beautifully observed and flawlessly acted. She manages a perfect portrayal of human relationships in all their complexity.

I first came to her films through the wonderful 'Le Gout des Autres', and am delighted to report that with 'Comme Une Image' she has triumphed again.

If you want a plot summary, read the product info, or the other reviews here - suffice it to say that this film contains such a lovely blend of decent writing and acting that to see it is to fall in love with it. Even with subtitles (and WHY are English subtitles always American ? Am I the only punter to find this really annoying ?) this film will make you laugh and cry in equal measure.

There is lovely photography, and the added bonus of some delightful music. Yes, 'Le Gout' had that too, but music was used differently. Here, music is vital to the story and to its outcome - and there is something so warmhearted and real about the singers who feature that only the most chilly among us could fail to be delighted and uplifted by the whole thing.

Fingers crossed that Ms Jaoui continues her remarkable output. She is one in a million.
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on 7 August 2015
Quite an amazing film
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on 9 July 2014
Very good.
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on 3 July 2005
Excellent and complex drama, don't let the sub-titles put you off it's a great story, great acting performances too.
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on 27 December 2005
LOOK AT ME would be an excellent instructional film for a class in family counseling. As an entertainment vehicle, it's a non-starter.
Marilou Berry plays the young Parisian Lolita Cassard, the teenage daughter of author Etienne Cassard (Jean-Pierre Bacri), whom fame has turned into a rude, insensitive, and self-centered Jerk. Lolita's mother bailed out of the marriage years before, and Etienne has since acquired a trophy wife, Karine (Virginie Desarnauts), with whom he's fathered another girl child. Lolita, already self-conscious of and deeply unhappy with her Rubenesque figure, is achingly deficient in self esteem. She has no steady boyfriend, and her father virtually ignores her and her one outstanding talent, a classically beautiful singing voice. Lolita takes singing lessons from Sylvia Millet (Agnes Jaoui, also the film's director), who's married to struggling author Pierre (Laurent Grevill). Once Sylvia and Pierre learn the identity of Lolita's Dad, the latter uses his wife's relationship with the girl as an avenue to curry favor with Etienne and get help for his own struggling career. About the same time, Lolita finds romantic involvement of a sort with the financially strapped Vincent (Gregoire Oestermann), whose half-hearted attention to a desperately needy Lolita lands him a better job with Etienne's recommendation.
LOOK AT ME is a candid look at the emotional damage that can be inflicted on a lonely, motherless teenage girl by a distant and cruelly inattentive father. The trouble is that Lolita's neediness is so acute, resulting in occasional brattiness on her part, that I shied away from any emotional attachment. By the film's end, I felt sorry for the young woman, but in no way liked her even a little. And given the basic unattractiveness of Etienne's character, none of the others - Sylvia, Pierre, Vincent - came off markedly better in comparison, although at least Sylvia evidently felt a certain sympathy for Lolita's predicament, and in that sense serves as an audience surrogate within the film.
I admit that the film intrigued me at first, but then grew stale as I waited for something - anything - to happen. I left the auditorium not having chuckled even once, or been surprised, or, Mr. Sensitive that I am, shed a tear. It came off as nothing more than an unengaging illustration of how not to parent, a visual lesson in dysfunction that I could perhaps as easily have achieved by peering into a representative sampling of neighbors' windows. Not that I would do that, of course.
LOOK AT ME isn't a bad film, it's just not worth paying good money to see at today's inflated theater prices.
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on 11 June 2012
After half an hour of waiting for something interesting to happen, I decided I had more stimulating things to do with my life. All of my Amazon colleagues who thought this was wonderful are obviously living in some kind of parallel mirror reality. I have about 90 French films in my collection, which unfortunately also now includes this one. The most exciting French film I've seen in a while is Q. It will get your attention from the titles. No significant violence; sometimes beautiful cinematography. For something lighter, Priceless with Audrey Tatou.
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