Delicacy

Expectations can be such a bitch, when pre-conceived notions formed by others become shattered when reality dawns upon them. It can apply to many areas, but in a romantic comedy, it almost certainly applies to how one perceives the other half that a friend had chosen. And I suppose for the girls if their friend's new beau doesn't come tall, dark and handsome, but balding, goofy and awkward, then there will be bewilderment that will take on a life of its own around the gossip mills.

The debut feature of directors David and Stephane Foenkinos, adapting from the former's novel, Delicacy turned out to be not what one expected, with scenes played out in rather individualistic fashion, and ultimately never finding a natural rhythm of pacing. It's a classic case where the sum of all its parts turned out to be rather rote and hardly surpassing the brilliance of ideas injected into individual episodes, making it a rather rough ride where you'd constantly wonder just where the story is heading.

The draw here is of course Audrey Tautou, playing yet another strong female character whose whirlwind romance with Francois (Pio Marmai) comes to a full stop when the inevitable happens, in a scene where I was expecting a vehicle to hit Francois on the screen from right to left. Well that wish got unfulfilled, but Francois does succumb to injuries and Tautou's Nathalie Kerr becomes a widow, devoting herself to her work for the next three years, before discovering opportunities for a fresh love life comes knocking on her door again. And all these serving as the prologue, while being really inconsequential to everything else that came after, and could have sped up the pacing to get to the crux of the story instead.

And that's the new chapter of her life predominantly set in her workplace, where her boss Charles (Bruno Todeschini) tried to hit on her, and her fellow work group mate Markus Lundl (Francois Damiens) becomes comically attracted to her because of her sudden and unexpected, one off advances where she kisses him out of the blue. The rest of the film deals with their romantic dalliances, with some nice touches to dialogues given Markus' deadpan humorous streak, and self-deprecating jokes that gets delivered with a straight face. But it's true, I suppose for those who don't have what it takes on the outside, being a funny man definitely works wonders, and Markus soon has Nathalie eating out of his hand, not that he could handle the attention anyhow.

While the romance doesn't really work out that well, what did work are the little background events that anyone working in an office will encounter from time to time, and these are the most fun, with gossips spreading like wildfire, and how sometimes we get easily offended by others who tend to be quick to pass judgement on who we are from glimpses on the outside. Audrey Tautou is at her pixie best in a role somewhat failed to challenge the actress, with Francois Damiens upstaging her in almost every aspect and scene, thanks to having portray a more interesting character complete with insecurities and quirks that is easily identified with by anyone - you will feel his pain when being compared with the Ideal, Perfect Man, who exists only in minds and not in real life, and being quite the good sport and feeling quite comfortable with himself when his shortcomings are mocked at.

Delicacy turned out to be a rather choppy ride, with a rather erratic pacing and structure that seemed to branch off and take on a life of its own, rather than to be in sync to form a more coherent narrative. Still, it's down to the chemistry of the leads when playing the unlikeliest of couples both in social standing, looks and attitudes, without whom this delicacy would have turned out to be a bland affair.

I finished the book and warched the film immediately. I was pleased to discover that the script was written by the book's author, so it is perfectly adapted :) I enjoyed both the book and the film. And I loved the Markus character. He is just lovely.

This is a much better film than has been generally recognized. Props to Tatou for choosing this project. It is not a romantic comedy, though there are many occasions for laughter. It is about love and loss, grief and healing. Maybe even more, it is about our culture, whose pervasive artificiality and interpersonal politics need to make real things seem weird and out of place. There is a Bergmanesque (eg: 'Swedish') subsurface to this light-footed film. As you watch it, consider the fates Tatou's character avoids by rejecting each invitation to 'normalcy'...

The film is beautifully shot, colored, and lit. The script is marvelously economical: every line is necessary. Finally, the music is ideal for allowing the intentions of the filmmaker to sink in.

What I didn't quite get from this is why the recently bereaved "Nathalie" (Audrey Tautou) would have moved on from the cute and cuddly "François" (Pio Marmaï) to the rather stockily structured Swede "Markus" (François Damiens). Anyway, when the former man in her life goes for an ill-advised jog, she finds herself widowed, back at work and largely rudderless. Her boss (Bruno Todeschini) has always been keen, but she makes it rather abruptly (and entertainingly) clear that not even on a desert island. Then - well after about three years - she encounters her new Swedish colleague. She doesn't exactly mince her words (or actions) and that leaves him in a semi-pleasant state of confusion. To say she initially blows hot and cold would be an understatement, but as things settle down it might just prove possible that something substantial might happen between them - but first she must come to terms with, and try to deal with a grief that still lingers. Along the way, there are some entertaining swipes at the politics of the office and of friendships where opinions are never far away - wanted or otherwise. The denouement is a little quirky. It's not what I was expecting but did somehow top off this meringue of a film. It's got just enough of a frame to hold it together, but is pretty mushy underneath. Tautou has a charm about her - she reminds me slightly of Audrey Hepburn, and the direction allows her to present her characterisation engagingly as the essence of the film. Even though it's all a little listless at times, I did quite enjoy it.

This film achieves something that a heck of a lot of films, particularly romantic comedies, get wrong.

It captures that feeling of two people messily entering into a relationship. The initial joys and awkwardness. The moments of fright when it all seems overwhelming. The calm reflective times and the stormy moments of doubt.

After a shaky start, the film blossoms into a refreshingly cliché free study of a beautiful woman impulsively starting a relationship with a shy, ungainly, but good natured man. It's his goodness that comes through. He wins out over the slick womanisers through sheer innocent charm and a desire to do good.

A heart warming film about the need to love fearlessly and without following the crowd and of taking happiness where it's found.