CRITIQUE – Trip undrinkable an egocentric character, adapting the Canal + program does not keep its promises. The short minute which was devoted to him every night Before amused viewers. Alas, Camille Cottin had eighty to keep …
We would love to hate. At least that was the selling point of this short program broadcast last year on Canal +. Since we saw the adaptation of “bitch” in the cinema, it understands the slogan. It should be noted however that, as our colleagues in the World , we were not allowed to attend press screenings. The story is a big word, is very understandable. Even for a bitch. Paris until the nail of the little toe, this thirty “who says out loud what everyone thinks everything down” (another slogan Canal +), superficial girl who hardly supports impatience or frustration tender leaves his capital French to go about the streets of London, hoping to marry Prince Harry to free itself from its “normal” life and “all rotten”. Understanding: a job, both feet in the middle-class, ordinary salary and no picture of her in the tabloids. Difficult as thin with a scenario to build a feature film around this character? Especially since it accumulates clichés and false good ideas like the fathers of a royal necklace.
● Sketches hidden camera
In addition to the format, which passes here the (very) short to long, the film is based on exactly the same principle that TV pellet. Front as behind the camera, we find the same team: Camille Cottin in the role of the irreverent plague and the tandem of directors Eloise Lang and Noémie Saglio ( Very first ). Except that, transposed to the big screen, the minx Canal + hardly finds its rhythm, a problem that did not arise in the mini-series of the small screen. A Balancing attempt is still putting up with the voiceover of Camille Cottin, supposedly give life to the story. For an hour and twenty minutes, yet the viewer has no chance to breathe, caught by all-out skits sewn white thread, coarse valves and appropriate comical situations. The all staged with hidden cameras that give dizzy. From the air, please .
● And I, and I, and I
Camille Cottin. Nothing for others. It is an understatement to say that the supporting cast were ignored in this narcissistic oaf trip. Often the interlocutors of the bitch are blurred. To a question of law to the likely image. Can not enter their reaction so. Valves in the void that waste this film much of its comic potential. If selfishness is the drug lasts bitch, princess of hearts , unbearable is crossed to the overdose.
● Welcome to England
After the Parisians, it is therefore the British that the bitch tortures. One detail that, once again, could have been better exploited. The legendary British phlegm outweighs hysteria of our heroine. With a few raised eyebrows or discomfort politely made invisible thanks to good manners of our best enemies, almost nobody reacts when bitch rides his pants in stores or treats a taxi driver as his servant, all in a Franglais more irritating.
● Courage flee
bitch knew distracted. But that was before? On a minute and forty seconds. In her beautician or a yoga session. Ok, Cottin, noticed in several films (very good chieuse in The Gazelles or Any First fios ) took courage. The one to go after this poor adventure. According to one of the directors, the actress “has no right to approach a place linked to the royal family in London” because of scenes filmed with a hidden camera like the ceremony of Horse- guards to which it embeds. Duffer, bitch and rebellious at once! All for it. In short, this film, we prefer a thousand times a blooper film presented at the end credits – probably the funniest part of the feature film. Opportunity to discover that the film crew took a perverse pleasure in realizing bitch, princess of hearts . That’s the only one.
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