Marius and Jeannette are not your average movie twosome. They are 40ish lovers
whose faces are appealing though not gorgeous, whose bodies have been touched by
middle-age spread and the slings of life's arrows, whose dispositions are individualistic
and not looking to get hitched, and whose emotional histories are freighted with
a lifetime of baggage. Come to think of it, they are your average twosome. It's just
that, on average, these are not the kinds of romantic couples we generally find on
the screen. This may partly explain the element responsible for making this French
film such a sleeper hit in its homeland and why it's the first of director Guédiguian's
seven films to be released on these shores. If this were filmed in Hollywood, the
introduction of these characters would be staged as one of those "meet cute" situations
that follow the standard footprints down life's bumpy though primrose path. But it's
not. We're in Marseilles and the characters meet when Jeannette (Ascaride) steals
some paint cans from the soon-to-be dismantled cement factory that Marius (Meylan)
patrols as a security guard. Jeannette insults him and calls him a fascist, but nevertheless,
Marius shows up at her door the next day with paint cans in hand ready to help her
do her walls. OK, so it is kind of cute. But the thing is, Jeannette's walls really
need the paint and Marius got to thinking about how the paint cans were really only
going to the scrap heap anyway. From this beginning, a tentative love affair grows
between this feisty single mother of two children (her first husband abandoned her,
and the second was killed while on the way to the store for cigarettes by falling
scaffolding) and this quiet working man who got his job by faking a limp. This is
the Marseilles of vast unemployment, of crumbling factories and urban decay, yet
in its own way a sun-dappled South of France town for lovers. Our first hint of this
duality is in the film's opening shot as the camera pans the natural scenery with
picture-postcard prettiness and continues its glide through the working-class neighborhood
loomed over by the dilapidated and barren cement factory. The characters in Marius
and Jeannette are its strongest selling point, however. There is a reality to them
that transcends the parameters of the enclosed narrative. Jeannette's apartment shares
a common courtyard with several neighbors and these characters, too, become part
of the story. There's Caroline (Roberts), who sometimes tells stories of her days
in the concentration camps and sometimes has companionable sex with her old friend
and neighbor Justin (Boudet), a retired teacher who helps the neighborhood children
with tough questions of religion and politics. The daily bickering between spouses
Monique (Bonnal), a left-leaning activist and Dédé (Darroussin), who voted
for the reactionary National Front, provide amusement for the whole courtyard and
grist for the marriage. Jeannette's daughter wants to go to Paris to become a journalist,
and her black-skinned son (by her second husband) has decided to observe Ramadan.
Ascaride (who is married to director Guédiguian and has appeared in most of
his pictures) won a French César for her work in this film, another indication
of the resonance of these characters. Guédiguian has filmed all his movies in
the streets of Marseilles and his familiarity and devotion to the locale serve him
well. If the movie's concluding tagline that dedicates it to "the thousands of unknown
workers" seems a little heavy-handed, it's only because that would have been evident
without underscoring it so markedly. In Marius and Jeannette we find the familiar;
it is a world that demands both bread and roses.
--Marjorie Baumgarten
Capsule Reviews
Marius and Jeannette 
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