Going into it, I had no idea "Mon Ange" took its plot from John Cassavetes' "Gloria" that had already been subjected to an American remake. It falls short of the original, especially lacking in suspense and action, but it adds a French twist not in "Gloria" which, though not very successful, would have created serious censorship and distribution problems in the U.S. What made "Gloria" especially impressive was the brilliant performance by Gena Rowlands, and while not quite as stunning, Vanessa Paradis turns in a great performance here in the lead role that, on its own, makes "Mon Ange" well worth a viewing. Pity she isn't being used more.
6 Reviews
Bonding
jotix1006 June 2009
Warning: Spoilers
Serge Frydman, the writer responsible for "La fille sur le pont", among other French movies, makes an impressive debut as a director with "Mon ange". He gets reunited with the star of the above mentioned movie, Vanessa Paradis, with happy results.
When we first meet Collette, she is at a brothel's cubicle window. There is a mysterious phone call from a colleague, Peggy, who is being released from prison. Collette doesn't know her, but feels her duty to go and bring Billy, her son, to be reunited with his mother. Little prepares her for what she is about to learn, Billy is not a toddler, but a teen ager. After the initial shock, all she wants to do is get rid of the boy, but Peggy's pimp has a surprise in store for Collette as he tries to get something from Billy that his mother gave the boy.
The tone changes to a road movie. Collette and Billy embark in the adventure of their life. Her ambition is to be a real mother, and since she doesn't seem to have a willing partner, she is seen searching for a possible donor that will grant her wish of motherhood. Finally, after their long road adventure they come to a restful place that might be what both Collette and Billy desire the most: a real home!
Vanessa Paradis is nothing short of spectacular as the prostitute whose life changes for the best. Ms. Paradis does wonders in going from an unconcerned prostitute to becoming a better person. Vincent Rottiers plays Billy registering all the emotions that are going through his mind for all of us to see.
Serge Frydman is a fresh new voice in the French cinema. We are sure his career will be a rewarding one and wish him the best.
When we first meet Collette, she is at a brothel's cubicle window. There is a mysterious phone call from a colleague, Peggy, who is being released from prison. Collette doesn't know her, but feels her duty to go and bring Billy, her son, to be reunited with his mother. Little prepares her for what she is about to learn, Billy is not a toddler, but a teen ager. After the initial shock, all she wants to do is get rid of the boy, but Peggy's pimp has a surprise in store for Collette as he tries to get something from Billy that his mother gave the boy.
The tone changes to a road movie. Collette and Billy embark in the adventure of their life. Her ambition is to be a real mother, and since she doesn't seem to have a willing partner, she is seen searching for a possible donor that will grant her wish of motherhood. Finally, after their long road adventure they come to a restful place that might be what both Collette and Billy desire the most: a real home!
Vanessa Paradis is nothing short of spectacular as the prostitute whose life changes for the best. Ms. Paradis does wonders in going from an unconcerned prostitute to becoming a better person. Vincent Rottiers plays Billy registering all the emotions that are going through his mind for all of us to see.
Serge Frydman is a fresh new voice in the French cinema. We are sure his career will be a rewarding one and wish him the best.
When a loser wants a child
przgzr27 July 2012
Warning: Spoilers
Americans probably wouldn't make this movie. It is too French. The story about Colette, a woman who wants to get pregnant to prove her ex-lover that she can have a baby (that she wasn't able while in relation with him) and thus hoping to return her old love (by having some stranger's child?!) and who waits for her most fertile days to replace her friend prostitute in an Amsterdam red-light window (?!) doing that obviously for years (because when she finally meets the object of her desire he is married and already has a child - !)
this is something Americans would never believe and accept. (BTW, this is the nation that makes movies about trained persons who take few guns and beat half of US Army with all their weapons and similarly well trained soldiers and a few FBI units for bonus, and they try to convince their audience and the rest of the world that this is normal and realistic.) First we don't even expect that this woman will be the leading character, because the movie begins with former prostitute Peggy released from jail trying to get her son Billy from orphanage. Later, however, the heroine (or the loser) of the movie temporarily abandons her hobby (or obsession) and helps Peggy find her son. However, the task appears to be not that simple. As she still doesn't want to waste her fertile days Colette takes care about Billy combining it with looking for fertile males. Apart from risky sexual behavior (trying to be fertilized by compete strangers obviously means unprotected sex with them, in the AIDS age and in highly risky population) Americans would probably also be shocked not only by developing relation between adult (not very young) semi-prostitute and teenage boy, but the author's acceptance of this relation (that becomes sexual during the movie) instead of politically correct condemning and crucifying the adult as well. (It is interesting that US rating isn't too strict for this movie, probably because the lack of graphic scenes.) For those who are afraid this could be one among many slow French movies with a lot of talk that often has no importance for the plot: yes, it is slower than average Hollywood products (where speed is not rarely substitute for real plot, things happen so fast that you have no time to see how pointless the plot is – while in French movies not rarely you are so busy making a puzzle of all the images and the words which almost randomly follow each other that you have no time to see that there is no plot at all), but contains more diverse logical subplots and characters than you'd expect in otherwise so typical French movie. The end of the movie is also logical but not too much predictable.
Vanessa Paradis carries the movie playing as if it's a completely ordinary character and behaving written in the screenplay wouldn't even surprise let alone shock anybody. Vincent Rotthiers (two years after sensational debuting in controversial but magnificent Les diables) seems to be rather restrained as Billy, but at the end of the movie you realize that this is just the way he had to show his character, a loser from the birth (unlike Colette who became it by choice) – son of an imprisoned prostitute living in orphanage and taken as teenager by unknown woman. There is certain development of characters but limited by their loser status, just enough not to stay one-dimensional and still stay believable.
If you find all French movies either boring or pervert better stay away from Mon ange. But if are more open-minded, if you can handle rhythm slower than Hollywood, and especially if you want something really cliché-less, than don't avoid this movie. You maybe won't be delighted, but you may be pleasantly surprised.
Vanessa Paradis carries the movie playing as if it's a completely ordinary character and behaving written in the screenplay wouldn't even surprise let alone shock anybody. Vincent Rotthiers (two years after sensational debuting in controversial but magnificent Les diables) seems to be rather restrained as Billy, but at the end of the movie you realize that this is just the way he had to show his character, a loser from the birth (unlike Colette who became it by choice) – son of an imprisoned prostitute living in orphanage and taken as teenager by unknown woman. There is certain development of characters but limited by their loser status, just enough not to stay one-dimensional and still stay believable.
If you find all French movies either boring or pervert better stay away from Mon ange. But if are more open-minded, if you can handle rhythm slower than Hollywood, and especially if you want something really cliché-less, than don't avoid this movie. You maybe won't be delighted, but you may be pleasantly surprised.
Inequal, a bit tiresome towards the end
almaa3130 June 2007
Warning: Spoilers
Two things I would like to say first: The film takes place in Belgium and partly in Netherlands. You can see in several scenes that both languages (French and Flemish) are used on signs. The second thing is that Colette is not a prostitute. The only reason she's 'on the window' at the beginning of the film is that she's at the right time to get pregnant and is looking for a man on that sole purpose and in the faint hope she'll get back her lover. She clearly mentions it's a one off. It's a bit far fetched I agree. Better not dwell on that though or you'll find an endless list of incoherences.
The first hour of the film has a good pace then completely loses its intensity after that getting at times really slow and almost boring. As if the writer had written the last part of the film in a rush or as if his imagination has dried up. I don't think it really serves the film, feels clumsy. The best interpretation comes from the young Rottiers. He's the only character I was finally interested in. Not that Vanessa Paradis is not good but her acting tends to always sound the same. It also would have been more clever if visually she'd have been dressed up/made up very differently from the real life. The chemistry between the two is obvious nonetheless.
Globally I found that film disappointing. One of the best scenes is the one in the motel though it lacks of continuity in the story. The worst being when she finally visits her ex lover. I don't know if it's a matter of miscast or anything but it doesn't sounds very credible.
The first hour of the film has a good pace then completely loses its intensity after that getting at times really slow and almost boring. As if the writer had written the last part of the film in a rush or as if his imagination has dried up. I don't think it really serves the film, feels clumsy. The best interpretation comes from the young Rottiers. He's the only character I was finally interested in. Not that Vanessa Paradis is not good but her acting tends to always sound the same. It also would have been more clever if visually she'd have been dressed up/made up very differently from the real life. The chemistry between the two is obvious nonetheless.
Globally I found that film disappointing. One of the best scenes is the one in the motel though it lacks of continuity in the story. The worst being when she finally visits her ex lover. I don't know if it's a matter of miscast or anything but it doesn't sounds very credible.
Charming French Fable in Amsterdam
WriterDave6 February 2006
Serge Frydman (who previously delivered us the similarly themed fairy-tale "Girl on the Bridge") directs this charming French entry about a call girl in Amsterdam who reluctantly finds herself taking care of an orphaned teen-age boy after trying to do a favor for a fellow prostitute in trouble. Much of the plotting is pretty far-fetched, but Frydman dresses it all in poetic dialogue about dreams and love and visually with the natural beauty of the Dutch countryside that you begin to accept it all at face value as a simple fable.
Aside from the scenery, the real treasure here is Vanessa Paradis in the lead role. She's a stunning natural beauty with high cheek-bones and eyes as deep as the ocean who exhumes an amazing magnetism on film, much in the same way as Naomi Watts or Nicole Kidman. Much of the time the camera is lingering on her face and body language, and she speaks volumes about the aching sorrow of being alone in the world without ever having to say a word. The film is also memorable for a scene in a hotel room where two people find solace and intimacy in physical contact without ever kissing or taking off their clothes. It's a sensual and emotionally resonating moment that is beautifully handled by the actors and director. Melancholy and enchanting, this a must-see fairy-tale for a discerning adult audience.
Aside from the scenery, the real treasure here is Vanessa Paradis in the lead role. She's a stunning natural beauty with high cheek-bones and eyes as deep as the ocean who exhumes an amazing magnetism on film, much in the same way as Naomi Watts or Nicole Kidman. Much of the time the camera is lingering on her face and body language, and she speaks volumes about the aching sorrow of being alone in the world without ever having to say a word. The film is also memorable for a scene in a hotel room where two people find solace and intimacy in physical contact without ever kissing or taking off their clothes. It's a sensual and emotionally resonating moment that is beautifully handled by the actors and director. Melancholy and enchanting, this a must-see fairy-tale for a discerning adult audience.
Touching film, great performances
red_juniorr25 April 2007
Warning: Spoilers
This movie is similar to "Gloria" indeed but it gives more insight to the Characters's feelings and personalities. Colette, a prostitute is doing a colleague a favor by picking up her kid from an orphanage. The kid turns out to be a teenager, not what Colette expected. She is desperately looking to form a family but is reluctant to take care of Billy since he is more of a teen burden for her. This changes throughout the film, showing that the answers to our longings are closer than we think. This is a very touching unconventional love story with realistic characters filled with contradictions. Vanessa Paradis proves she is not just a pretty face in this movie; she is an extremely talented underrated actress.The script and dialogs are filled with metaphors and symbolisms which can apply to everyone. I recommend this film to audiences who enjoy thought- provoking, intelligent pictures.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
