Ceticultsot
Beautiful, moving film.
Tyreece Hulme
One of the best movies of the year! Incredible from the beginning to the end.
Aneesa Wardle
The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.
Frank Cullen
I save the word 'brilliant' for a very few films; The Fairy is one. It is also mad, charming, funny, odd and the hippest comedy film in a generation. The Fairy is a spirited, zany concoction about lovable misfits--one with askew magical power, and the team of Fiona Gordon, Dominique Abel & Bruno Romy is the most original and bright comedy team since Monty Python! Fiona Gordon is an unglamorous fairy; Dominique Abel the worn-down recipient of her beneficence; Bruno Romy is the third member of this writing-directing-acting triumvirate, although Romy tends more to the directing end than as an actor.How did IMDb compute a rating of 6.2 for a film that every one of the IMDb reviewers loved? -- Frank Cullen founder: American Vaudeville Museum; author of "Vaudeville, Old & New: an Encyclopedia of Variety Performers in America" (Routledge Press).
writers_reign
Clearly not for everyone as the comments here prove. It you're prepared to suspend your disbelief, meet it half way, and accept it on its own terms, you will be enchanted, which is surely reward enough. We're talking labor of love here as the husband-and wife actor-director team set out to charm us with a willow-the-wisp soufflé' which has overtones of The Mad Woman of Chaillot, and whose 'message' is little more than 'love is where you find it'. A woman, with no baggage, arrives at a small hotel and explains to the new night-clerk that she is a fairy who has the power to grant him three wishes; rather than wealth beyond the dreams of avarice, he asks for a scooter and an unlimited supply of petrol, leaving the third wish on hold. Naturally the woman normally sleeps in a nearby mental hospital, to which she is soon returned, but by now the clerk is smitten and we are drawn in to this unconventional love story - or not, as the case may be. If you still have a child within you and take it along neither of you will be disappointed. If you have lost and/or abandoned the child within you, then don't go.
orinocowomble
French-language comedy abounds with the sort of film that makes perfect sense while you're watching it, but cannot be recounted to anyone who hasn't seen it without realising that...um...it's totally mad. "La Fée" is one of these. Part of its success is the fact that while the situations are farcical in the extreme, the actors carry them out totally deadpan, in the style of Buster Keaton. It's "normal" in their world, so you accept it as normal. Once you can accept the basic premise (sad little night clerk encounters a fairy who offers him three wishes), you are drawn into their version of reality, and no matter how mad it gets you just keep going, wondering where it will all end up. The actors are excellent, sending up silent films, musical comedies and rom-coms in the most ludicrous way without telegraphing (as so many American and English actors would), "Okay, get ready to laugh, funny bit coming up!" No, they just do what they do, and you find yourself giggling with astonishment. The hospital system comes in for its share of sendups (from the "smoking area" to the staff-of-one who manages to keep everything under control...to a point), the national obsession with rugby, etc. You do have to be aware or many of the more obscure bits of "business" will be lost. I think Keaton and Lloyd would have enjoyed this film very much. If it had a weakness, it was in the non-end; the director simply stopped filming when he was done, without attempting to tie it all up in a nice, bland little package. "La Fée" reminded me strongly of "L'Iceberg". When I checked IMDb I realised it was made by the same people.
bonjour_tristesse71
Although this film contains one of the best images I have ever seen in a film ( the tug of war contest over our lovers embracing) the humour was cartoonish tom-foolery. The audience quickly grew tired at being told when to laugh; all that was missing was a drum roll and symbol crash.The audience was left cringing in pro- longed,embarrassed silence. It seemed every bit- actor wanted the camera's attention for as long as possible adding to the squirm in the seat factor. Our lovers were more like elongated, gangly ,naive siblings. Pointless sub-plots add to the surreal feel of the film. There were lots of nods to the silent era ( our heroes are mime artists, so not fully surprising) but there was no mastery of subtlety- unlike Le Havre. Sweet but full of eye-rollingly excruciating moments.
