Bopping with Niall JP O'Leary

Niall O'Leary insists on sharing his hare-brained notions and hysterical emotions. Personal obsessions with cinema, literature, food and alcohol feature regularly.

Sunday, September 09, 2007

Two Days In Paris

Following on the heels of 'Paris Je T'Aime', 'Two Days in Paris' is another chance to savour the best of things French. Several times throughout the credits we are reminded that this is a Julie Delpy movie, and never has a truer word been spoken given that she directs, writes, edits, scores and stars in the movie. She even writes and performs some of the songs. I imagine she would have liked to play all the parts too, but must settle with a role for her father.
 
It's a slight story. A young couple, an American man (Adam Goldberg) and a French woman (Julie Delpy), returning to New York after a trip to Italy, stop off to visit her Parisian parents. As Delpy meets old friends and lovers, Goldberg, alienated by the French from the outset, begins to question how well he actually knows his partner. Will their love survive?
 
Slight or not, Delpy does a great job with the script, and manages to give Goldberg lines that would do Woody Allen proud. Given the pervasive input of Delpy, it is surprising to find such an emphasis on sexual humour (Goldberg's manhood is mercilessly attacked, for instance). There is much made of the gap between the prudishness of the American and French sexual frankness. Clash of culture comedies are ten a penny; besides the American entries in 'Paris Je T'Aime', 'Lost in Translation' especially comes to mind. Delpy is well aware of this, but forges on regardless. She seems to relish tackling the traditional stereotypes and is unafraid to raise the old cliches of French rudeness, bad personal hygiene, promiscuity etc., while teasing New York hypochondria, narrow-mindedness and violence. In the end, it is not the lovers' nationalities, so much as their personal experiences that stand in the way of communication.
 
In direction too, Delpy acquits herself very well. She has a lightness of touch that never falters and there really isn't a false note from start to finish. If the project lacks originality, it always entertains, and is a wonderful calling card for the French actress. (It also explains her absence from cinema for so long). I look forward to what she does next.

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