The Hedgehog (2009)

If you liked "Amelie" and its "magical realism", you'll probably like this film's naiveté. If you didn't... you'll just endure it :).

Can "films starring kids" succeed? Indeed! Stella (2009) is a good case in point. Also "Blame It on Fidel". This film will probably remind you of "something" both of Stella and "Seraphine", because of the "straight-out-of-the-bed unshavelled look" of the main character, but who has a "hidden secret/ sensibility". But again, Seraphine is a work of art, and a daring one. Herisson falters both emotionally and artistically. It has some pedagogic intentions, like when they quote twice, even showing the book, the trite Tolstoi quote about happy and sad families being alike and different. Or the "Freudian death wish" (thrice).

From the start this film tries to make us instantly like Paloma, then her classy and neurotic mum, then Renée (completely opposite character), finally leading us to believe the romance between her and Kakuro, the new tenant, is all but "written in the stars" when sorry, I didn't see any chemistry between the characters, and thought all the intimacy scenes were awkward, not believable. And I don't want to speak about the ending, so contrived, and yes, it has been done before, way better, by a host of great filmmakers. There is not much of a "social context", strange for a French film. Only the occasional touch of "class struggle" from Renée when she says she conforms to the stereotype people have of her job (true), or when she is literally not seen by the other posh tenants when she undergoes the classic "Cinderella" transformation. All with signs of the difference money makes, like the lent dress she wears, contrast this with the ultra expensive flat of Kakuro, playing the Requiem in the toilet and with a kitchen that looks from a designer magazine.

Ariane Ascaride plays a likable secondary role, she's the most natural of all the cast by far. There are a lots of cats in the film. Palmoa of course has some nuggets of child wisdom, like when she notices: "don't let the cat out, nor the concierge in". But they don't fit in at all in the story, which never seems to go anywhere, doesn't solve Paloma's "funny" grim outlook and suicidal tendencies, nor her family's idiosyncrasies. Her sister and father are just there for some "comic relief", but Paloma, like the concierge, is also a hedgehog, in the sense of she relating to the world only in her own terms. That, the refreshing outlook of children of our adult routine, should be enough material for a good film, and it has been. But my take anyway is that, like most recipes, sometimes it just doesn't work well...

I agree with Chris Knipp from IMDb that Paloma is ridiculously clever, there are no clues on how Kakuro transformed his apartment or where does he get all the cash, and basically, how this film has the classic structure of a best seller: "Its simplifications are satisfying, if you don't go too deep".

Fmovies: Greetings again from the darkness. The directorial feature debut from Mona Achache is based on the French bestseller "The Elegance of the Hedgehog" by Muriel Barbery. The meticulous pace masks whirlwind of emotion and thought occurring in the three key characters. Three characters whom each of us could be guilty of overlooking on a daily basis.

For those who don't know, the film defines a hedgehog as a prickly-on- the-outside, cuddly-on-the-inside critter that is often misjudged. Our three characters all fit this description in some manner. Paloma (Garance LeGuillermic) is an 11 year old girl who plans to kill herself on her 12th birthday because no one understands her and her life is filled with what are the minor inconveniences of being an 11 year old - her mother talks to plants more than she talks to her, her father is a distracted workaholic, and her self-centered teenage sister is, well, a self-centered teenager. Madame Renee Michel (Josiane Balasko) is the building's caretaker. Self-described as old and ugly, she lives the life of quiet desperation, hiding with her cat and massive library of books and chocolate. The building's new tenant is Kakuro Ozu (Togo Igawa), a mysterious and elegant man who immediately sees through Madame Michel's prickly exterior.

Paloma spends much of her day documenting by video camera the goings on in her life and of those in her building. She often adds her insightful and humorous narrative to the scene as it occurs. Her view on life and its possibilities begins to change as she observes and gets to know Madame Michel and Mr. Ozu, and more importantly, observes their interactions.

The underlying storyline of an 11 year old girl contemplating suicide can be quite disturbing, but director Achache never really lets that occur. Instead we focus on very simple acts of kindness and subtle smiles and gestures that indicate life can be rewarding and worthwhile. I also found Madame Michel's surrender to the state of invisibility to be quite disturbing, but her awakening to be fascinating. She had not been rejected by society as much as simply overlooked.

Unlike many French movies that bombard us with rapid fire, overlapping exchanges, this one instead relies on patience and a sharp eye ... think of it as the slight squeeze while holding a loved one's hand.

Something there is about little French films that is like discovering a free-floating water lily in a quiet stream: it approaches you, shares it lovely scent as it passed, and then continues on out of sight, leaving you warmly happy at the privilege of observing a gentle bit of nature if only for a moment. THE HEDGEHOG does just that. Mona Achache directs her screen play adapted from the novel "L'élégance du hérisson" by Muriel Barbery, casts an impeccable group of actors who bring to life this tale of how serendipitous nods of love can alter lives.

The title comes form the definition of a hedgehog as a prickly-on- the-outside, cuddly-on- the-inside critter that is often misjudged. And that definition applies to several characters in the story though it is most directly connected to bourgeoisie apartment house concierge Renee Michel (Josiane Balasko), a middle-aged and sour hermit who lives to mop the floor, distribute mail, and to give you a wary eye to passersby. The building is inhabited by rich people, a fact we learn from the narrator of the story - Paloma Josse (Garance Le Guillermic), an eleven-year-old girl disturbed by her privileged life in Paris. Her father Paul (Wladimir Yordanoff) is distracted by his government job while her mother Solange (Anne Brochet) drinks champagne with anti-depressants while talking to her plants, and her sister Colombe (Sarah Le Picard) focuses her shallow life on a pet goldfish. She decides she will kill herself in 165 days on her 12th birthday and begins to document the hypocrisy of the adults in her apartment building with her father's old 8mm camcorder. Her harsh judgments do not seem to include Renee: though they are at opposite ends of the socioeconomic spectrum Paloma senses something unusual about Renee, explores her apartment and discovers the extensive secret library in Renee's back room, and that the often untidy appearing and distant matron reads Tolstoy to her cat Leo. Renee's hedgehog appearance does indeed contain a cuddly inside, a fact that is revealed when a new tenant - Kakuro Ozu (Togo Igawa) moves in and he and Paloma realize they are kindred spirits. Mr. Ozu is a wealthy Japanese businessman and he strikes up a friendship with Paloma as they discuss their shared curiosity for the downstairs concierge woman and their delight in playing the game Go with one another. Kakuro's attention to and kindness for Renee creates changes: Renee is instructed by the maid Manuela Lopez (Ariane Ascaride) to have her hair done and to wear a new dress when Renee reluctantly accepts Kakuro's invitation to dinner. As Paloma observes the changes Kakuro creates in both Renee and in herself, her own coming of age becomes a much less pessimistic prospect. 'Planning to die doesn't mean I let myself go like a rotten vegetable. What matters isn't the fact of dying or when you die. It's what you're doing at that precise moment.' And from there the story moves like that free floating water lily - passing on through life enlightened by its presence.

Josiane Belasko, Garance Le Guillermic, and Togo Igawa are brilliant in their roles. The script is quiet, intelligent and ultimately deeply touching, but it is the direction of Mona Achache that polishes this little gem to a glow. Clearly this is one of the finest films of the past decade.

Grady Harp

The Hedgehog fmovies. I suppose if you have not read the book on which this film is based (L'elegance du herisson) you might be a little bewildered. I and the the jam-packed audience I saw it with in Fremantle, Western Australia, had. It is a delightful study of three 'outsider' personalities: a precocious teenage girl, a very unusual concierge and a Japanese gentleman. It probably resonates more if you know France, especially Paris; even Europe would do. I am now looking for it on DVD (at a reasonable price for Region 4) because it is a film I know I will watch again and again for its delicate study of 'la condition humaine' - the character studies are delightful. Don't be put off by earlier reviews. Leave your prejudices outside the cinema and sit back and enjoy a delicate, delightful study of three very non-American people observed in a very non-American way. If Australians can appreciate this film, it should appeal to anyone with sensibilities.

Paloma Josse (Garance Le Guillermic) is a eleven year old girl disturbed by her privileged life in Paris. Her father Paul (Wladimir Yordanoff) is distracted by his government job while her mother Solange (Anne Brochet) drinks champagne with anti-depressants while talking to her plants. She decides she will kill herself in 165 days on her 12th birthday and begins to document the hypocrisy of the adults in her apartment building with her father's old camcorder. The apartment janitor, Renee, may appear to be a just another middle-aged woman who is bitter and grumpy, somewhat prickly, but when a new Japanese neighbor, Kakuro Ozu (Togo Igawa) moves in, he sees something else in her, something soft. This intrigues Paloma about "The Hedgehog", a term used to describe Renee. Despite the fact that Paloma and Renee are on opposite ends of the socioeconomic scale, both of them prefers to quietly observe life from a place of relative obscurity while dwelling on the edge of the society

The soul of the film is definitely the subtle love story between Kakuro and Renee. Kakuro surprises Renee by completing her comment that 'happy families are all alike,' with 'but each unhappy family is unique,' which is a direct quote from a novel during their first meeting. As Renee goes through her own transformation, the chemistry between her and Kakuro grows. It was then the three form a unique bond and we see Paloma and Renee emerge from hiding and begin to embrace life..

While adapting Muriel Barbery's bestselling novel "The Elegance of the Hedgehog", director Mona Achache makes a memorable directorial debut. She complements Barbery's style and enhances her work through Paloma's actions, doing things such as putting her older sister Colombe (Sarah Le Picard) in a 'fishbowl' by filming her through a glass of water (as a metaphor of Paloma's own life) and animating the drawings she created. While her character provides the narrative framing, young Le Guillermic makes an entertaining observer and narrator. The supporting cast as the Josse family gives a solid performance, creating a household which Paloma wish to escape from thoroughly believable. Igawa as Kakuro is gentle but understated and Balasko's Renee is a revelation, her performance is nuanced and graceful from within her dowdy exterior.

The Hedgehog is a heartwarming and unique tale, highlighting the importance of digging through the hard surface of life for the chance of discovering the hidden meanings and enjoyment beneath. Life, sometimes like the hedgehog, conceals a sophisticated elegance beneath a spiky veneer.

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Mona Achache's movie "Le hérisson" ("The Hedgehog" in English) is about a Parisian girl leading an unfulfilled life with her affluent family, and so she decides to commit suicide on her twelfth birthday. In the process of filming her apartment and family, the girl befriends the concierge.

The movie presents a good contrast between the girl's disillusionment with her posh but superficial world and the concierge's appreciation of what little she has, and showing how the concierge is able to develop a relationship with a Japanese widower who moves into the apartment building. The girl's filming her sister throughout the goldfish bowl is a metaphor for the new look that she's taking at her bourgeois existence. In the end, the girl does start to reconsider her suicidal plans. Achache made a very good movie, one that I truly recommend.