Populaire, 2012.
Directed by Regis Rosinard.
Starring Romain Duris, Deborah Francois, Berenice Bejo and Shaun Benson.
![Populaire]( "Populaire")
SYNOPSIS:
A battle of the sexes ensues between a small town insurance man and his secretary, as he trains her for the National Speed Typing contest.
![Populaire]( "Populaire")
Regis Rosinard’s Populaire is a light and fluffy French rom-com that won’t win prizes for originality, but it’s an easy film to sit back and enjoy. Populaire at times feels like a modern twist on a classic Rock Hudson/Doris Day outing, but with a hint of Steven Shainberg’s S&M fest Secretary. Not to imply there’s any inappropriate spanking on a desk, but the battle of the sexes delves deeper than the classic 50s caper and there are hints of a darker element that is never fully explored.
Set in 1958, the film follows Rose Pamphyle (an excellently cast Deborah Francois) – an incompetent secretary who has a knack for typing at a ludicrously fast speed. This gets the attention of her boss Louis Echard (Romain Duris who combines sleaze and charm to make a not wholly unlikeable lead). Unfortunately Echard is still in love with his ex-girlfriend Marie (The Artist’s Berenice Bejo) and hijinks ensues.
It’s the chemistry between these two that makes Populaire more than your average rom-com. They feel as if they’re having fun with each other and their petty arguments are a delight to watch. Rosinard even throws in a training montage for the two of them as they work their way to the speed typing championships – the combination of running, incessant typing and piano playing makes for an entertaining montage mid-way through the film. The film does falter in the third act when the two leads are apart as it’s their chemistry that turns Populaire from an unoriginal rom-com into something special.
Of the two leads Deborah Francois is the one to watch. She’s perfectly cast as Pamphyle; combining vulnerability, clumsiness, sexiness and strength in one cute 1950s package. Francois makes Pamphyle a wholly real character and it’s a delight to follow her throughout the movie to its inevitable conclusion. The conclusion of Populaire is the only issue I had with the film. Every now and then you need to watch a film where you know what’s going to happen before the lights have even gone down in the cinema, but in the case of Populaire this dragged. The third act falters, and although we get the finale we’re all expecting, it takes so long to get there that you feel slightly cold.
When I first heard about Populaire my first thought was whether speed typing could work as a tense background for a rom-com; I’m glad to say I was pleasantly surprised. Rosinard encapsulates the 1950s dreams of being an independent woman perfectly, and he uses the conceit of speed typing as a way to express that liberation. Throughout the film we’re treated to the sight of numerous independent women competing and gaining recognition. At times the film feels like Rosinard’s love letter to women’s liberation.
Focusing on the 1950s era also gives Rosinard the chance to recreate the flamboyant nature of the era and he encapsulates it perfectly. From the outfits through to the language of the time and the hazy filter used throughout, no detail is overlooked. The transition from a small town in France, to Paris and the Hollywood glamour of New York is handled expertly by Rosinard and makes Populaire a feast for the eyes.
Populaire is an easy rom-com to slip in to. There’s phenomenal chemistry between the two leads and the concept of speed typing is a joy to watch and get enthralled by. However, it falls into the old age trap of a fledgling third act which sees the two leads apart for too long. It seems Rosinard wanted to embody the classic 1950s battle of the sexes, but with a weak third act the battle comes to a tired end rather than an uplifting victory. Still there are great performances on display and Francois alone is worth the ticket price.
Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★ ★
Directed by Regis Rosinard.
Starring Romain Duris, Deborah Francois, Berenice Bejo and Shaun Benson.
A battle of the sexes ensues between a small town insurance man and his secretary, as he trains her for the National Speed Typing contest.
Regis Rosinard’s Populaire is a light and fluffy French rom-com that won’t win prizes for originality, but it’s an easy film to sit back and enjoy. Populaire at times feels like a modern twist on a classic Rock Hudson/Doris Day outing, but with a hint of Steven Shainberg’s S&M fest Secretary. Not to imply there’s any inappropriate spanking on a desk, but the battle of the sexes delves deeper than the classic 50s caper and there are hints of a darker element that is never fully explored.
Set in 1958, the film follows Rose Pamphyle (an excellently cast Deborah Francois) – an incompetent secretary who has a knack for typing at a ludicrously fast speed. This gets the attention of her boss Louis Echard (Romain Duris who combines sleaze and charm to make a not wholly unlikeable lead). Unfortunately Echard is still in love with his ex-girlfriend Marie (The Artist’s Berenice Bejo) and hijinks ensues.
It’s the chemistry between these two that makes Populaire more than your average rom-com. They feel as if they’re having fun with each other and their petty arguments are a delight to watch. Rosinard even throws in a training montage for the two of them as they work their way to the speed typing championships – the combination of running, incessant typing and piano playing makes for an entertaining montage mid-way through the film. The film does falter in the third act when the two leads are apart as it’s their chemistry that turns Populaire from an unoriginal rom-com into something special.
Of the two leads Deborah Francois is the one to watch. She’s perfectly cast as Pamphyle; combining vulnerability, clumsiness, sexiness and strength in one cute 1950s package. Francois makes Pamphyle a wholly real character and it’s a delight to follow her throughout the movie to its inevitable conclusion. The conclusion of Populaire is the only issue I had with the film. Every now and then you need to watch a film where you know what’s going to happen before the lights have even gone down in the cinema, but in the case of Populaire this dragged. The third act falters, and although we get the finale we’re all expecting, it takes so long to get there that you feel slightly cold.
When I first heard about Populaire my first thought was whether speed typing could work as a tense background for a rom-com; I’m glad to say I was pleasantly surprised. Rosinard encapsulates the 1950s dreams of being an independent woman perfectly, and he uses the conceit of speed typing as a way to express that liberation. Throughout the film we’re treated to the sight of numerous independent women competing and gaining recognition. At times the film feels like Rosinard’s love letter to women’s liberation.
Focusing on the 1950s era also gives Rosinard the chance to recreate the flamboyant nature of the era and he encapsulates it perfectly. From the outfits through to the language of the time and the hazy filter used throughout, no detail is overlooked. The transition from a small town in France, to Paris and the Hollywood glamour of New York is handled expertly by Rosinard and makes Populaire a feast for the eyes.
Populaire is an easy rom-com to slip in to. There’s phenomenal chemistry between the two leads and the concept of speed typing is a joy to watch and get enthralled by. However, it falls into the old age trap of a fledgling third act which sees the two leads apart for too long. It seems Rosinard wanted to embody the classic 1950s battle of the sexes, but with a weak third act the battle comes to a tired end rather than an uplifting victory. Still there are great performances on display and Francois alone is worth the ticket price.
Flickering Myth Rating - Film: ★ ★ ★ / Movie: ★ ★ ★
Helen Murdoch