Hellen I like the storyline of this show,it attract me so much

Stevecorp Don't listen to the negative reviews

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Charles Herold (cherold) Alain Resnais, like a lot of brilliant people, can be interesting even when he's not very entertaining. But in Not on the Lips, he's not even really that interesting.I liked the way the movie began, with the cute credits and the opening shot with the women singing. At that point I had high hopes. As the empty-headed characters chattered, I thought perhaps this was an Oscar- Wilde/Noel Coward sort of thing that would mock the upper classes.But as I watched further, I began to feel that instead, this was just a rather tedious trifle that has nothing to say. So I looked it up on wikipedia, which says it's an old operetta and that Resnais purposely made it as originally intended. Apparently that chatter was supposed to be interesting.I rather liked the music, although it's disconcerting when the subtitles don't bother to rhyme (sometimes they do, sometimes not). It's got a nice look to it. But about a third of the way through I just couldn't see how I could stand anymore of this superficial claptrap, and I stopped watching.

Syl In my opinion, I didn't know that this was a musical comedy. The French make the best films around with character driven story lines. This film has a first rate cast but I didn't care for Lambert Wilson's performance as the American, Eric Thomson. I did love Isabelle Nanty as Arlette, the old maid. She was perfect and memorable. Arlette's sister, Gilberte, has a problem. She has three men in her life including her unsuspecting second husband who thinks he's her first, her first American husband, Eric Thomson, who comes to Paris on business, and a young male artist/teacher Charly who prefers older women. The film is first rate in art direction, costumes, music, casting, and writing. I felt Lambert Wilson was out of place and out of tune as the American. But still, this film has memorable characters and can cheer you right up.

netwallah A 1920s musical farce, with a fine cast. Most of the music is uninteresting, except for the bigger production numbers. The sets are fine, the costumes are gorgeous, and the plot complications very amusing. It is just preposterous enough to be pleasing. Sabine Azéma is glamorous as Gilberte Valandraye, the central character, married to Georges Valandraye (Pierre Arditi), a sophisticated husband with a crackpot theory about feminine nature—women properly bonded with their first lover/husband will always be faithful. So Georges, who is exceedingly suave, worries not at all about the way men court his wife, and he does not know his new American business partner Eric Thomson (Lambert Wilson) is also his wife's first husband. Eric has a quirk, too: he will not kiss. Meanwhile, one of Gilberte's suitors, a young multimedia artist named Charly, pursued by young Huguette (Audrey Tautou, mostly wasted as an ingenue), makes everyone jealous, and the other suitor, Farandel (Daniel Prévost) does not. The last scene takes place in an elegant bachelor pad à chinoise, in which everything is first confused impossibly and then sorted out. Pleasant, though not exciting. Wondering what it means that Resnais, the maker of such tonily strange films forty years ago, now makes a conventional farce—I think it would be fruitless speculation.

Fiona-39 This is classic French farce, very theatrical with a 1920s score, entirely interior sets (best being the 3rd act bachelor pad) and ridiculous intertwining relationships. It is tempting to see it almost as an Amelie remake, complete with lush visuals and two leads from that film. It has the same romantic view of French life, the same emphasis on relationships, the same reliance on a sparkling performance by Tatou. It is slow, and hard to follow with subtitles - you really need to speak French to get much out of this (esp the excruiating accent of the American). Some interesting little touches - the spoken credits at the start (very Godardian!) and the way that characters leaving the stage just vanish. It is very witty, brittle and bright. A curiosity rather than a masterpiece.