After erasing my thoughts nearly twenty-seven times, there is a feeling that I can now conquer this review for the complex French drama, “Read My Lips”. Having written over five hundred reviews, I have never found myself at such a loss of words as I did with director Jacques Audiard’s subtle, yet inspirational love story. Thought was poured over what was loved and hated about this film, and while the “loves” overpowered, it was the elements that were hated that sparked further debate within my mind. “Read My Lips” is a drama. To be more precise, is a character driven drama which fuses social uncertainty with crime lords with the doldrums of everyday office work. Here is where this review begins to crumble, it is all of these items – but it is more…much, much more. As a viewer, you are pulled in instantly by Emmanuelle Devos’ portrayal of this fragile woman named Carla, whose strength is lost to the males in her office as well as her hearing difficulty. Audiard introduces us harshly to her world by removing sound from the screen whenever she is not wearing her aid, causing an immediate unrest, not only from the characters within the film, but to those watching. Without sound, the world is left open to any possibility, and that is frightening.
As we watch this difficult and unsettling woman setting into her life, we are then uprooted and given the opportunity to meet Paul (played exquisitely by Vincent Cassel), a slicked-back hair, mustache-wearing lanky man who was just released from prison, homeless, jobless, and forced by his parole officer to get a job. This is how Carla and Paul meet. There is that moment of instant, unsettling attraction. The one where we think she loves him, but he is dark (and here is where it gets even more fun) – and where we think he loves her, but she is dark. The constant role reversal creates the tone of the unknown. Who, as viewers, are we to feel the most sympathy for? Paul sleeps in the office, Carla helps him; Carla looses a contract to a rival co-worker, Paul helps her; Carla’s ability to read people’s lips comes in handy for a make-shift idea for Paul. The continual jumps back and forth keep you on your chair, waiting for the possibility of some light to shine through this dark cave. It never does. Audiard cannot just allow this story to take place, he continually introduces us to more characters; one just as seedy as the next. Even our rock, our solid foundation with the parole officer is in question when his wife goes missing – a subplot to this film that at first angered me, but upon further debate was a staple finale for this film. Yet none of this could have happened if it weren’t for our characters. Devos’ solemn and homely look is breathtaking, as she changes her image for Paul; the truth of her beauty is discovered. Paul, the wildcard in the film, continues to seemingly use and abuse the friendship for his final endgame. Then, just as we assume one, Carla takes on one last shape.
Audiard knows he has amazing actors capturing his characters. Cassel and Devos could just play cards the entire time and I would still be sitting at the end of my chair. The story, probably the weakest part of this film, is at first random. The interwoven stories seem unconnected at first, but Audiard lets them connect bit by bit. Again, the entire parole officer segment was tangent, but that final scene just solidified the ends to the means. Not attempting to sound vague, but this complex (yet utterly simple) story is difficult to explain. There is plenty happening, but it is up to you to connect the pieces. A favorite scene is when Carla is attempting to discover where some money is being held. That use of sound and scene was brilliant. It was tense, it was dramatic, and it was like watching a who-dun-it mystery unfold before your eyes.
FILM: Watch this movie again and again. At first I hated what “Read My Lips” brought to the screen, but after letting it mull in my mind for a couple of days, it proved to be something that had lasting ability. The cast, the story (again, the weakest part), and the sound proved to be a complete jolt to the senses, proving that recycled stories can be told with unique and original twists.
VISUAL: Watching this film upconverted in my Blu player, there were scenes that really stood out. The darks were never quite that dark and the brief introduction to light hurt my eyes as it would the characters. This film would benefit with a stronger release, where the color palate was upgraded and perhaps stronger translation, but from a DVD standpoint, this was perfect.
SOUND: Audiard’s use of sound is one reason to watch this film. Carla condition of being hearing impaired is pushed onto the audience, and the slight sounds that occur in the background give thought to what else may be happening that is beyond our sight. Amazing work by Audiard to bring her focus into fruition.
EXTRAS: Nothing. Which is alright here – I would have loved a commentary or the actors speaking of their roles, but instead we are handed just a couple of trailers. I liked the bare-bones of this film because it allowed me to make my own assumptions and win my own debates over what I just witnessed. For “Read My Lips” it worked.
Overall, I initially though this was a mediocre French film that I could easily forget about when it was over – I was proved wrong. “Read My Lips” opens the floor for discussion, not just with the characters, but the situations. One will find themselves rooting for Carla in one scene, and Paul in the next. When a discovery is made in Paul’s apartment by Carla, I found myself deeply angry. Audiard brought true emotion to the screen with his characters and development, and what he was lacking in plot – the actors were able to carry. I can easily suggest this film to anyone, but be prepared; this isn’t a one time viewing film. Repeat. Repeat. Repeat.
The final entry in the "Reel Views" book, I am surprised to find myself giving this film a green highlight with blue mark. I will watch this film again - suggest it to friends - and rediscover what I have missed. Man, this really surprised me tonight.
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