The Big Picture (2010) User Reviews

breaking the frames

[dromasca · 7/10 · 1 April 2013]

At the beginning of the story in this film the hero seems to be at the peak of his life. He has it all - a comfortable life, a wife and two kids, he lives in a villa in the province and works in Paris as a successful lawyer on the brink of becoming lead of a lawyer office (inherited from a terminally sick woman played by Catherine Deneuve who has only three short scenes, but so great to see her still beautiful and in good acting form). At the end he has nothing, is a fugitive with no identity. And yet, the story is the one of fulfillment as the hero while losing his status and family will find himself, a new profession and passion.

It's a very well written story and script (based on a novel by Douglas Kennedy). It also is a more than satisfying crime story (albeit it's about an accidental murder) which as some point in time plays with the theme of the first book in the Bounty Identity series, with the murderer taking over the identity of the victim, and finding refuge in the least policed place in Europe (at least according to the script). It so happens that the victim was a photographer, and while trying to mimic his way of life the hero develops a passion and discovers a talent in the profession, actually a stronger talent than of the one of the true owner of the name. Succeeding means however acquiring fame, and this puts under risk his second identity. I will stop here in order to not disclose too much of the rest of the story, but I will just say that the mixture of crime story, stolen identity, and self-discovery works quite well in 'L'homme qui voulait vivre sa vie' (the English title is 'The Big Picture').

Much of the film rests on the shoulders of Romain Duris and he is doing a fine job. I do not know too much about director Eric Lartigau, but he is telling the story and leading his team with a good professional hand. 'L'homme qui voulait vivre sa vie' is a god thriller and a compelling drama about a man who breaks twice the frames of his life, finding himself when he seems to have lost everything.

On the nature of identity

[paul2001sw-1 · 7/10 · 31 December 2012]

Eric Lartigau's film, 'The Big Picture', begins as a thriller, but ends more as an existential meditation on life (the literal translation of its French title, 'The Man Who Wanted to Live his Life', is much more apt than its dull replacement). A man ends up living, first in the shoes of another man, and ultimately as an anonymous nobody: he initial decision to give up his identity is a choice, albeit in straightened circumstances, but its consequences have to be experienced to be understood. The initial portion of the film has the feel of a thriller and does not seem especially well-acted; the latter half is more interesting, but overall, an abbreviated feel permeates the movie. Whereas Antonioni's 'The Passenger', which I also saw recently and which follows a similar course, is all about mood (only hinting at plot), here the balance is different, and the more interesting, introspective aspects are occasionally rushed. There's a lot of interest here, and some ambition on the part of the director; but some of its ideas could, I think, have been allowed a bit more space to breathe.

A man forced to be what he really wanted to be, sort of. A photographic thriller.

[secondtake · 7/10 · 22 September 2013]

The Big Picture (2010)

Terrific vibes here, and a euphoric basic idea of a man getting out of a troubled situation and going for broke, for happiness. Literally, and spiritually.

First there is the set-up: a happy, charming, positive Paul Exben (played by the cheerful French actor Romain Duris). He's got an unhappy, negative wife and a kid who loves him and an infant who doesn't know what he wants (except to cry a lot). He's a photographer in the new manner, using high tech computers and high end printers. He loves being who he is, and is very successful financially.

But the wife is bitter and unyielding. Things are going to go wrong and they do. Exactly how (involving another photographer, a man who is very old school with a darkroom and enlarger) is partly what the movie is about, and the surprise is one of its peaks. Then the movie takes some amazing turns.

I say amazing but really there is a lot of incredulity built in. Would Paul Exben really go so far? Wasn't there a simpler solution (many of them)? If the end goal really was to "start over" in a manner of speaking, wouldn't there be ways of doing that and not sabotaging everything else? Maybe not, but then we should have been set up better for all the implications.

The movie's original title is "L'homme Qui Voulait Vivre Sa Vie," or "The Man Who Wanted to Live His Life." That's sooooo much better and more compelling. And that's what the movie is about. But the English title reminds us that photography, and this photographer, are central to it all, and I'm a photographer. I've been that old school type (by necessity) for decades and still have an enlarger (and a university darkroom) at my fingertips. But I have also moved almost completely into new school photography with inkjet printing and such.

I have to say, this movie made me want to get back in the darkroom. Not that there are scenes that romanticize that. More that there are lots of flaws and mistakes in pointing out the differences. Our man Exben ends up ditching his fancy Canon gear and getting an old Nikon film camera and a couple of lenses. Then he starts to print, rediscovering his roots. And then on his darkroom wall are some color prints--absolutely impossible with some trays as shown. And pretty much not possible period these days. Yet his new direction in color is what takes his career new places. I found the photography stuff annoying and enchanting, both. If you're not into the field, you'll probably just like the enchantment part. Never mind the far too easy gallery luck near the end.

But the movie is about what the French title suggests--and here it falters, too. Is this a man who is really living his life? In some obvious ways yes. But the existential drama could have (and should have?) taken this far deeper. By the final scenes where our man is photographing a horrifying event from a distance (and then sells some illogically close-up photos of the event to a publisher) we get a sense that he is truly dedicated. But also a bit lost. An opportunist. A man who accepts being trapped by circumstance.

In a way, this is a movie waiting to be remade. It wouldn't take much to make it a classic look at the human condition, with some attractive hooks along the way. What we have isn't so bad, but it offers more than it delivers.

A superb french thriller

[greenray1 · 26 July 2011]

I really have to write a review about this great French thriller. Firstly, although not a French Language expert, the original title which means roughly - THE MAN WHO WANTED TO CHANGE HIS LIFE - is much more appropriate than THE BIG PICTURE. Although the circumstances that lead the main character to change his life for something that he should have done years ago were quite shocking, it resonated with me and I am sure so many others. How many of us have not pursued what we were really good at and traded ourselves in to the banal life of the office, security of the pension and benefits etc. etc. The list goes on. If you can watch this film twice then do as you will appreciate it even more. The acting is very good. The ending may confuse some and I have not ticked the spoiler box so will not give anything away. After leaving the auditorium you will piece it together though. Overall an excellent film. The main actor was great in Heartbreaker and the same here with THE BIG PICTURE.

Speedy Gonegregsus

[witster18 · 7/10 · 16 December 2019]

Only mild spoilers.

Here's a fairly tidy little French thriller.

The speedy timeline here, which isn't really laid-out(with the exception of some late emails), helps this films' plausibility and realism. I've seen some reviews with some negative commentary on those aspects and I didn't have any problems with this film in those regards. In fact, I thought it was actually one of the films strengths. It's a tight little thriller, with a seemingly compact storyline.

Perhaps the biggest strength of the film is the acting(across the board), and how those performances shine creating tension in the first half of the film. The film uses some nice touches to get the point across early - the breakfast scene and the couch scene both come to mind.

Why 7 for me? Well, because the film did lack the things that might have put it over the top. The ending is a little abrupt. The film could have used 45-55 minutes-more to finish what it started. Sure, at that length it still would haven't endeared itself to every casual movie-goer, but for this movie-craver, I can see how this one could've been even better. Besides, it's a european thriller, with subtitles, european chopped-pacing, subtle emotional acting, and probably wasn't going to appease American masses anyway, but I digress. I think the editor of the paper, late, the London showing, and(possibly) a physical tranformation twist could have really expanded and elevated this already solid film into rarified air.

"The Big Picture" is well worth your time, though, and kudos to the lead performance in particular. I love opening the film with "Volcano" by Beck, and the landscapes and scenery are just amazing. The cinematography isn't too shabby either.

I thought the film had some very interesting things to say about life choices, faith, fate, talent, and privacy.

You MIght like this if you liked:The Double Hour(about even), Match point(ever-so slightly better), or Unfaithful(ever-so slightly better or even).

I can recommend this.

Life suddenly out of control !

[lucienm-60321 · 7/10 · 23 July 2021]

Poor guy !

Things happen sometimes spiralling, upending your life!

What to do to fix it?

Good casting !

One of TIFF 2010's best!

[armandcbris · 9/10 · 20 September 2010]

I saw this film at the 2010 edition of the Toronto International Film Festival, and it was a pleasant surprise.

Great performances, tightly directed, and a very compelling storyline, in addition to a being beautifully shot and using some great Magnum Photos in the film as part of the main character's unexpected shift into a new world and a new life.

Based on the American writer Douglas Kennedy's acclaimed book of the same name, but changed to a Euro setting, director Eric Lartigau easily shows how European filmmakers can take the themes of murder, obsession and identity to new artistic heights, while also giving us one of the best thrillers of 2010. It's a thriller as cinematic art as only the Europeans can do.

The film might not have gotten as much attention as other films at TIFF 2010, but it definitely should. I truly hope it gets a wider release here in Canada and elsewhere.

Seek it out. Decidedly worthwhile.

Is a Rolex with no strap still a Great watch?

[buddybickford · 5/10 · 10 February 2012]

I ask this because if a film has no end is it still a good film?. I found it a complete and utter bail out, and will not agree with any excuses such as 'it didn't need an end' or 'we all understood what happens next'. This was all the more frustrating as the movie was really good, when it ended I thought I had sat on the remote control, but it ended I was astonished and felt cheated.

Another thing that is absurd, is why did he take the dead mans identity? it was so obvious that it would lead to the issues he faced, anyone could have foreseen that, and for a Lawyer (or a chimpanzee) not to have had this foresight was simply inconceivable.

Anyway apart from these huge issues it was entertaining for 2 thirds of the movie namely the beginning and the middle the last 3rd the ending just didn't exist.

Still worth watching though.

A real mind blower

[Simon_Cooper-1 · 10/10 · 15 June 2022]

If you are a fan of the book there are obviously a great deal of glaring differences, but this film does not disappoint if you can give it a chance. Obviously it is a European tale and the countries and languages are completely different to the original film. It is also a different story in terms of the characters. This is a film about a man who has recoiled from the life he wanted, but who is then forced into free fall. His skills learned through his unwanted life see him through, and he finds himself a new purpose and a new role in the world. I won't say any more than that as I see no point in spoiling a film by writing a newspaper-style plot summary. The ending is what many people don't like, but this is not a film of the book, it is a film inspired by the book. Let it be what it is.

Analog script in a digital world

[bbrown8870 · 4/10 · 30 March 2014]

The failure of a professional photographer to use the latest equipment is a good metaphor for this movie, whose English title makes no sense. It seems like it was shot from the original script submission before any grownups had a chance to edit the story. Terrific performances by all the actors, but a story line so sloppy that I re-animated my disbelief about half-way through. For me the most enjoyable aspect was the glimpse to life in various venues around (and near) Europe. I would love to have seen this in the hands of Alfred Hitchcock. He would have lent credibility to the desperation, which I felt was contrived and forced on me. I'll bet they ran out of money while filming and couldn't afford the ending they'd originally planned.

Très bon

[ell1981 · 8/10 · 22 November 2012]

Really impressive film that was gripping and well acted. It did drift a little and had slight pacing issues but did not detract from a compelling piece with excellent lead performances. Duris has impressed me an awful lot in his previous performances and commands the screen really well becoming one of the best leading men around. I also found the locations in Montenegro absolutely stunning and filmed in a way that really added to the feel and mood of the film. I was particularly impressed with the way it ended refusing to indulge and become predictable. This is such a rare thing these days and deserves much credit and shows bravery in both the direction and concept that was clearly well thought out. Bravo!

The man who wanted

[sandover · 11 May 2011]

To live one's life? The title may seem a bit too grand, in between an 18th, or 19th century moral tale crossed with french existentialist uneasiness, but the film lives up to it, turning it obliquely into a canvas of political contemporary matters.

To give away what happens is to betray its mood, a mood that spills over into matters that retain and resume their urgency, and are crisply clarified in the last sequences, but I will give away a plot-line: Romain Duris lives an uneasy life, has a chillingly distant wife (she is superb), loves his kids, and arguably does not know, despite his professional panache (guaranteed by the way his home looks like and some dialogue with visitors in his office), what adult life means and how it is signaled about. He then gathers his failing marriage has an antagonist, who, in perfect french manner, does not want to be an antagonist at all, it is just the way life goes, outside how you want to live it, if you are adult and manly enough. An ugly accident happens. He has to change his life.

And he does: long, ominous takes that succumb into atmospheric lakes, leaks into the artistry he wanted to pursue and he now does, but with no guarantee. It is only in its aftermath - of his amorous new situation, and how the past reappears - that he meets his destiny.

What recapitulates the trajectory is the last sense of political complicity in the perilous open, a new social, humane if fragile contract.

This is a film in the best way of European political films that even pave the way to a new leftist sensibility; Romain Duris is a No-man, rather than an Everyman, that has a knack, though this may seem gratuitous, to appear most elegant in his shoes. It is some time an actor had that elegance, and also some sense of contrasted foregrounding with what takes its trail on screen.

Style Again Overwhelms Substance and Sensibility!

[spookyrat1 · 5/10 · 29 November 2018]

The Big Picture is a well-cast, well-produced film from director Eric Lartigau. It's promoted as a thriller in the Patricia Highsmith/Ripley vein, but aficionados of that genre might take issue on that point, after viewing the disappointing and frankly quite unbelievable story that is unfurled onscreen.

The acting is first class. Romain Duris does a fine job portraying a multi-skilled French lawyer who we end up discovering has an abundance of talents, but seemingly not a lot of common sense. It's also great to see Catherine Deneuve again, though in a small, fairly unimportant role, that could have just about been handled by anyone.

The idea I'm sure was to create a thriller with existential dramatic layers, a la Miichelangelo Antonioni, but we end up being force-fed so many contrivances, that everything becomes plainly inconceivable.

Let's quickly bypass the obvious sort of stuff such as why wouldn't the very successful Paul and Sarah just divorce, whereby Paul would still be able to see his beloved kids and legally be rid of the adulterous and failed writer Sarah, who as he points out, simply doesn't seem to appreciate him. So purely for purposes of story-making, we have Paul confronting Sarah's lover Greg, who is then accidentally killed, but definitely not murdered, of which lawyer Paul should very much have been aware. Nevertheless, then we are asked to accept that he would run from the authorities, adopt Greg's identity of a reasonably successful, professional photographer, simply because he didn't want to upset his kids. (Oh please!) Along the way he becomes adept with explosives, by building a bomb using instructions from the internet (as we all do) and it is inferred, though we never see it (saving on production budgets?), that he blows his old identity away, as well as Greg's corpse, on his father's boat.

Moving to another unnamed European country (near Belgrade we are told) he becomes very successful in his new life, though again we are asked to expediently believe there are no images of the former Greg on the internet, though there are pictures of his work and I think it is briefly suggested onscreen that Greg had a sister, another avenue of possible interest that isn't explored. "Fearing" further exposure again, he pays for a berth on a dodgy freighter ( Why not just take a bus?) where he rather stupidly exposes himself after witnessing the crew (wait for it) ... throwing stowaways overboard (as dodgy freighter crews always do), but not before hiding away a roll of evidentiary photos! He and another stowaway in the middle of the night, swimming in the middle of the ocean, then happen upon a survival raft, just floating around out there!! I think it is suggested that another crew member may have thrown it to them from the ship, but again, it would have only taken a few seconds to actually confirm this, rather than opaquely hint at the action.

Later onshore, after being rescued (offscreen again) we surmise that like a dog continually chasing his tail, publicity-shy Greg/Paul is going to hightail it again, after his photos at sea, prove to be a well-paying media sensation. Cue the credits.

Narratives created in such an artificial, unrealistic fashion as The Big Picture, find minimal favour with this writer, though I admit the film has its attractions, some of which are listed above. Some of the issues may have been alleviated by setting the story pre-internet technologies. What does surprise me is how critically well-received this hollow concoction apparently was. Unsurprisingly, I can't similarly endorse it.

A shocking discovery of a film

[M-M-Murad · 8/10 · 30 October 2012]

Well to be honest i wasn't expecting much from this French thriller but i was convinced enough by the trailer that i should give it a try. When i started watching i realized how right i was about the film and how correctly i wasn't expecting much from the film. For about 50 minutes of the film i started counting the films i had seen based on wife cheating her husband, getting charged with infidelity and then good husband getting upset and finally taking care of the problem.

I shouldn't have watched this film i thought...

It was after the first 50 minutes of the film when i was taken aback by the jolting surprise and a bizarre movie experience which remained with me after few days even. THIS FILM MUST BE SEEN.

It explores that side of a character that is commonly not paid attention by the filmmakers. The movie takes a sharp turn and gets lost into infinity, where everything gets stagnant, slow and becomes endless. It can go on and on like this for hours. To me it felt very unusual experience, something both poetic and strange, beautiful and scary at the same time.

Eric Lartigau, the writer and the director did a fabulous job in both of his departments. Although a little more character development of the supporting roles in the second half would have been beneficial making the narrative more deep.

Romain Duris comes up with a startling performance, his character transitions from one mode to another and the actor just goes freely along with it. His deep influential performance is another fact why the movie haunts you after it ends. I was moved to tears by the intensity of his approach towards the character. This one role should transcend his career as an actor to higher level.

The movie was adorned with lilting musical score and gorgeous cinematography enhancing the impact of the film on the viewer. By the end i was thankful to myself that i saw the movie truly relying on my instincts, i was so glad i came across such a warm movie and I'm sure others who watch will feel the same.

portrait of a schizophrenic

[liebor · 5/10 · 16 January 2013]

I found the film a bit illogical and ridiculous as the main character's paranoia have not been depicted realistically...well I have seen the film in the french films club lair with my vision distorted by 2 rows of other people. Anyhow the film might have been a great one had it been cut better. Had it say started at the sea and then retrospectively (getting there backwards) let the viewer to discover the whole, a viewer would personalize the idea and intentions better. In the movie on the other hand, one gets to be introduced to the 'normal' person who gets clearly mad, arranging his life as a paranoic schizophrenic yet acting sanely as before so he even manages to lead a life of a star artist with ease. There are some great plot points like leaving of the loved, stealing of the identity, accidental death, unwanted? artistic praise, sea survival friendship. Unfortunately they are loosely connected with the hero's intentions that are depicted not deeply enough to make a good sense... hence a schizophrenic.

A film you absolutely have to see

[Liberius_8 · 8/10 · 30 June 2012]

Let's start by saying that this is quite an unique thriller. For one thing, once the film passes the triggering factor that is the murder of Kremer, there's barely any dialogue. It not only shows the psychological effects the main character goes through once he flees France, but also brings the soundtrack forward. That is one other strong point of the movie, as the soundtrack that was composed for it is absolutely splendid, the music actually does wonders about sticking us in front of the film until the very end, as it is a perfect match for what's happening before our very eyes.

It can also be said that the way the actors play their characters is convincing to say the less. Romain Duris, even without talking much, actually says a lot just by the way he plays his character.

The movie nearly missed a perfect note because of two elements. First, it starts too fast, we barely know the characters, what they do, and what are the relationships between them when Kremer gets killed. A more developed introduction could have helped. The second thing is the way the movie ends. The film still feels incomplete by the end, and while that lets room for your imagination to fill, it would have been nice if they ended the movie in a more decisive way than by just letting Exben go walking the streets of yet another country.

Nonetheless, The Big Picture, or, if we use its most appropriate title (translated from French) « The Men That Wanted To Live His Life » is definitely a film any thriller and/or drama fan will want (and have) to see someday.

Will keep you thinking about it.

[CarltonBanx · 3 December 2012]

I just replied this to someone's thread on this film (veered off topic), and so thought I'd copy/paste this into an honest review - as there aren't many reviews considering it's a few years old + it is underscored.

The IMDb synopsis is far too revealing (so don't read it!).. even the genre is missing "Thriller", b/c it is a drama/thriller.. if a little slow moving (but slow moving with intention, not bad direction/script).

I was surprised by IMDb's score too. It just needs a bit more (not loads) to do it justice. I've seen some peeps say 5/10 (ridiculous), simply b/c they were expecting.. more? Also, I notice films that end with question marks as to the characters next move, don't always score quite as much as they could have done with a clear cut death/romance/walking off into sunset etc.

Saying that, I didn't want the film to end.. its momentum had changed into something completely different, and I wanted to see where/what/how - all that! But that to me, just says what a good film it was (superbly acted with lovely cinematography too). It will (should) leave you thinking and pondering.

I just happened the turn the TV on last night as it started, and didn't read the synopsis - so wasn't expecting anything (though I love my french thrillers).

Lucky in finding this gem.

watchable but umbeliveable

[surfisfun · 5/10 · 22 April 2019]

Not recommended. the story was hard to believe. the choices made by protagonist too. it is French but doesn't make it better. check ou Rabbie Jacob. also La Chevre. ahh the French h

Loved it nice surprise thriller

[peru1-595-630106 · 10/10 · 3 September 2013]

This movie starts out as what seems to be some sort of dull yuppie relationship garbage (I wonder if the bad character Kremer was a play on Kramer vs. Kramer??) Then it suddenly becomes a great thriller as Paul Exben ex-financial attorney eschews the Kramer vs. Kramer garbage and takes off as a fugitive with identity theft.

He becomes a sought after talented photographer---unlike the bad one his wife took off with.

There are a lot of subtle things..He begins to look at his kid and he resembles his infidel unhappy wife's lover.

No, this movie is fantastic on so many levels. The photography of the Croatian coast all of it.

Happily he is not caught by the police but it ends as he starts a new life of some sort in Italy.

I like movies that switch gears suddenly rather than some plodding predictable formula. This movie moves fast has memorable believable characters (the 62 boozy French journalist and Ivana are great characters) all around good. Boy this director knows how to type cast! And direct creating very convincing characters.

Highly Recommend

So Near And Yet So Fois

[writers_reign · 26 July 2011]

For several years now I've had a problem with French movies. Increasingly if I want to see some Real Actors I have to take male eye candy on the order of Gaspar Ulliel, Vincent Cassell, Benoit Magimal and Roman Duris. So it is here; in order to appreciate Marina Fois in yet another fine performance I have to stomach Duris in the lead and although Catherine Deneuve gets featured billing she has little more than a cameo.Apparently it is based on a novel by one Douglas Kennedy, of whom I've never heard but he has clearly not only heard of but read Patricia Highsmith because this tale of a man who commits murder in the heat of the moment and not only gets away with it but goes on to have a successful lie under an assumed identity is pure Highh smith. Worth seeing for Fois but that's about it.