A LA MODE
(IN FASHION)
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (0 TO 10): 6.2
Date Released: 8/94 (varies) Running Length: 1:29 Rated: R (Nudity, sexual situations, language)
Starring: Ken Higelin, Jean Yanne, Francois Hautessere,
Florence Darel
Director: Remy Duchemin
Producers: Joel Faulon and Daniel Daujon
Screenplay: Remy Duchemin based on the novel FAUSTO by Richard
Morgrieve
Cinematography: Yves Lafaye
Music: Denis Barbier
Released by Miramax Films
In French with subtitles
"I wanted to make a film that makes you feel better when you leave the theater than when you came in. Dark films have become almost a convention. Life can be terrible, of course. But there are moments when it can be so bright, so wondrous, so full of love. These are the moments A LA MODE is about." - Remy Duchemin, writer/director of A LA MODE
A LA MODE is one of those rare French films with no message to embrace. As light as meringue, and often as bland in flavor, this motion picture bears little resemblance to the weightier imports from its country of origin (JEAN DE FLORETTE, UN COEUR EN HIVER, and GERMINAL, to name a recent few). Like THE HAIRDRESSER'S HUSBAND, its lone goal is to provide ninety minutes of frothy, tensionless entertainment.
The story follows the life of Fausto Barbarico (Ken Higelin) as he learns his new trade. An orphan apprenticed to the tailor Mietek (Jean Yanne), the lad immediately discovers that he has a talent for designing clothes--women's clothes in particular. Even as he learns from Mietek, he begins to explore the world of fashion on his own, eventually discovering a beautiful young woman (Florence Darel, of A TALE OF SPRINGTIME) upon whom he can try out his creations.
Some parts of A LA MODE work better than others. The early sequences with Fausto studying his craft under the watchful eye of Mietek are wonderfully scripted and acted. They are funny without being silly. As Fausto gains fame, however, A LA MODE's appeal fades. The protagonist's first sexual encounter turns into an over-the-top musical farce (to the tune of Beethoven's Fifth). The jealousy of his friend Raymond (Francois Hautessere) finds a violent--and pointless--outlet. And everyone starts eating money (hundred franc notes tasting better than five franc notes).
As fetching as Florence Darel is, her chemistry with leading man Ken Higelin is virtually nonexistent. The two never click, despite numerous attempts, and their romance consequently comes across as plotted rather than natural.
The real star is Jean Yanne, as is apparent to anyone who views more than a few moments of A LA MODE. Every scene in which the actor appears is elevated by his presence. His rapid-fire, lively delivery of dialogue is magical, even in subtitles (read fast!). Playing Fausto's mentor, Yanne connects with Higelin the way Darel should have.
As a mostly-pointless piece of entertainment, this film is as successful as it needs to be. In the United States, the phrase "a la mode" is used to refer to something served with ice cream on top (the most famous usage being "pie a la mode"). That's a fairly representative description of what you get with the movie: dessert. For better or worse, there's no entree to accompany it.
- James Berardinelli (blake7@cc.bellcore.com)
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