He Loves Me... He Loves Me Not (2002)

This "thriller lite" tells of innocence and victimization, and relies as much on its structural twists as on Audrey Tautou's saucer eyes and Samuel Le Bihan's hunkiness. You might even call it a black comedy, with lots of freshness and style. The best way to view this is to go in cold, relax, and let it grab you by the arm and gently drag you in.

That said, it is not really a romance, although people who like romances will find enough roses and hand-drawn artwork here to please. If you are one of those who generally refuses to see movies with "love" in the title, consider that "love" isn't in the original French title, so rest assured you can watch this without reservation.

Fmovies: "He Loves Me, He Loves Me Not (À la folie... pas du tout)" is a marvelous French twist.

The re-wind technique of different perspectives, descended from the Japanese "Rashomon," has combined entertainment with philosophical insight by the German Tom Tykwer, in such as "Run Lola Run," and with socio-political commentary in the Mexican "Amores Perros." Add in the American know-how of creepiness from "Fatal Attraction" and "One Hour Photo," and the French writer/director Laetitia Colombani, mais oui, applies it all to matters of the heart.

She uses both a rational and visual approach to an enormously entertaining take on "she says, he says"/"he loves she who is in love with he who is in love with she" etc. that is an unpredictable roller coaster.

One lead character is a cardiologist (the particularly hunky Samuel Le Bihan) and the other plays on our expectations of that gamin par excellence Audrey Tautou of "Amelie." We see her at first surrounded by flowers and heart decorations so of course our sympathies go out to her. Ah, how our interpretation of those wide black eyes can change! And if only Hollywood actresses would be willing to allow their images to be so cleverly manipulated.

Our other stereotypical assumptions also lead to other surprises. Unlike Hollywood, this movie respects our intelligence, and leaves us to figure out what's going on and anticipate what will happen after the end.

Just like it took awhile to feel good about "Singing in the Rain" after seeing "Clockwork Orange" and a certain classic rock song after "Reservoir Dogs," you may get a frisson of the creepies from Nat King Cole after this.

While you not may feel good at the end about particular characters and what they have done or will do, you will feel good about moviemaking and going to the movies.

Audrey Tautou might at first sight seem to be an actress with limitations, but most of what goes through in her character's heads are shown in the eyes.

This starts as a family comedy about the innocent girl sending her loved one flowers and other presents. But it gets worse and in the end you're watching a thriller that doesn't make you feel at ease. It becomes a story of life and death and not just in the physical way.

The story is told from two view points. It remains exciting anyway.

He Loves Me... He Loves Me Not fmovies. After playing Amelie, the bizarre personal qualities of Audrey Tautou which I never thought could be so perfectly matched to any other role were once again matched just as perfectly to this extreme role, in which she delivers one of the greatest psychotic character creations in the history of the cinema. How can such a smiling, angelic, elfin creature as the delightful Audrey possibly be so completely and dangerously insane? Well, they say that psychotics smile too much, and this proves it. This is a study in extreme 'erotomania'. Lest that be misunderstood, I need to stress that there is not one erotic scene in this film, and that the word refers to a psychotic love fixation on someone you barely know, or perhaps don't know at all. I don't want to give too much away, but I need to say that the film shows the story from two points of view, hers (Audrey's) and his (Samuel Le Bihan, who is inspired and harrowing as the object of the obsession). The script is so spectacularly brilliant and ingeniously-plotted that this film joins 'l'Appartement' and 'Tell No One' as one of the best-crafted thriller scripts of the last twenty years in any country. It was written by the director Laetitia Colombani (aged 31/2, the same as Audrey Tautou) and Caroline Thivel. They should have had a Cesar for it. The direction is wonderful, paced to perfection, inspired, chilling, indeed terrifying. What a triumph. And anyone who believed Audrey Tautou could not surpass herself was wrong.

It's really hard to talk about this movie without giving something away. I'll give away as little as possible, but my recommendation would be, stop reading this or any other review and just watch the movie, it's very good.

Since I don't want to give anything away I can't say much about the story. It starts as a movie about a cute, sweet girl in love, and the movie's use of an actress who exudes sweetness and innocence makes what happens as the movie progresses all the more startling. The movie is devoted to its one central trick, and what's notable is not the trick - lots of movies have tricks - but how much time is spent in showing off the filmmaker's cleverness. This could have been annoying or self indulgent but I enjoyed it. Some people won't be surprised - I'm really not as good as guessing twists as a lot of people (which is why I consider the movie Matchstick Men to be so poor in spite of good reviews; that one I guessed straight through to the end early on) - but I was surprised and quite delighted.

Audrey Tautou is in my opinion the greatest rising star of the French cinema. Coming from a tradition that does not lack great actors, beautiful divas, living legends, and huge comedians, Audrey seems to bring together talent and beauty, huge interior and exterior beauty. Some compared her with the other Audrey - Hepburn, but in my opinion the French star talent exceeds by light-years the one of the American.

'A la folie...' is an interesting film by itself. An apparent tragic love story is being told from one of the partners angle in the first half of the movie - just to be re-told from the other partner perspective in the second part. The second half and the end hide a twist. Both script and film are cleverly written though made by a script-writer and director (Laetitia Colombani) only at her second film. I am expecting good things from her in the future.

Worth seeing - 8/10 on my personal scale.