MARIUS ET JEANETTE (a film review by Mark R. Leeper)
CAPSULE: Romance blooms in a working-class neighborhood in the shadow of an ugly cement factory that has become an eyesore. A politically excited grocery clerk and a lame factory watchman have will-they-or-won't-they (of course they will) romance. The film is heavy with political subtext, but the plot is lukewarm comedy. Very popular in France, but it offers less for Americans. Rating: 6 (0 to 10), +1 (-4 to +4)
In 1997 Robert Guediguian gave us a romantic comedy with a left-wing political twist set in a labor-class community in France. Jeanette is very political. At the grocery store where she works every conflict with her boss comes down to liberal rhetoric. She lives in a small neighborhood on the edge of a totally ugly cement factory in the process of being demolished. One day Jeanette attempts to steal some unused paint cans from the factory grounds, but Marius, the half-lame guard at the factory, chases her off. She complains bitterly about the company's selfishness. Then she is surprised when Marius brings her two cans of paint, and then offers to paint her house for her. This begins a long and eventually romantic relationship between Jeanette and Marius.
MARIUS ET JEANETTE concentrates on Jeanette's relationship with her hot and cold and decidedly political relationship with her neighbors and her relationship with Marius. Jeanette does not fully trust Marius and is mistrustful of his apparent generosity. Marius is torn between his affection for Jeanette and his fear of commitment. These are the sort of relationships we have seen before. As such it is not a greatly original film.
The film uses its ugly setting ravaged by giant machines, somewhat symbolic of a view that industry is exploiting and destroying the world. In front of this is a warm depiction of working class people portrayed in romantic and political contexts. They may have their little conflicts, but they are salt of the earth sort of people and we can forgive their foibles more easily than we forgive the corporations that make their lives difficult.
This is basically a situation comedy that is a little dialog-heavy. The film has little more reward than to build affection for two people and see them come together. Along the way we visit with the neighbors and hear their concerns, particularly political ones. This film was very popular in France. In this country we are divorced a little from French local politics and it means less there. For a French audience I might rate this film higher, but in the United States I would rate my enjoyment a +1 on the -4 to +4 scale.
Mark R. Leeper mleeper@optonline.net Copyright 2002 Mark R. Leeper
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