《法国香颂》是一部由阿伦·雷乃执导，皮埃尔·阿迪蒂 / 萨宾·阿泽玛 / 让-皮埃尔·巴克里主演的一部喜剧 / 剧情 / 歌舞 / 爱情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。
●camille那个差评男朋友那句‘吃点糖’跟那句著名的‘喝点热水’真是如出一辙。 人家是抑郁症啊 你光是站在那挥舞着一包糖让她cheer up有用吗
●开头生活化的剧情离散却又间或的联系，没有什么勾人的情节，只是依靠着很有特色的手法——依靠演员的口型来演绎法国歌曲，可是渐渐的这些歌曲重复了一遍，带来了所有的剧情的融合，在那个新装修的屋中，一个落地窗前，盛大的聚会。心里的评分也随之三，四，五分的打了上去——忧郁、生活、欺骗、私情
●因为马上有AgnèsJAOUI电影展，所以找出这部来看。音乐太强大了，不过如果不是熟稔法国香颂的恐怕感觉就会大打折扣。剧情平平，实在是很生活化的琐碎事情，带点诙谐。就像串起了一颗颗怀旧珍珠的链子，本身平淡无奇，却也平添了几分宝气。
●神一样的阿伦·雷乃，总是那么难得地有创意。歌曲代替对白和人物内心活动（具体分析起来很是好玩的），可以比较一下德米的“香颂电影”，但同时又有明确的大众文化的情感结构的解析路径。这部影片情节剧的手法略有点重。
●一不小心就开始唱歌了，唱歌的歌词也木有翻译出来......
●如果只是情节剧中单元素的置换，以往作品那种高意义密度的剪辑就显得孱弱了。
●故事平淡，法國香頌與性別不同的人對位感覺奇怪。仍深愛著香頌，不過不是如此的。
●太棒了！雷奈用“双簧”手法来表达人物心理独白，除了达到一种奇妙的效果（有时是喜剧效果）以外，还解决了吟唱与表演不可兼得的问题，暖屋派对上的转场也格外出彩。今年看到的第一部绝对五星电影！
《法国香颂》影评(一)：你们还记得这些歌吗？
一部非常有趣的电影，那些歌都是8，9十年代的歌，虽然现在听起来有点过时，却会让你难望，当电影最后所有故事都说玩时，老人突然眼睛望着镜头，手里拿 着说：“你们还记得这些歌吗？”如果你是那时代的人，有听惯法国歌，你心一定会给这句话震撼！
《法国香颂》影评(二)：情感自行微调
大牌一堆，也有个还算新鲜的形式，滑稽而新鲜，主题的过于微观是法国电影的典型特征，没办法，人家已经早就过了初级阶段了，所以没有咱们习惯的大开大合爱恨情仇等等，但仍旧觉着不是太精致，尤其情感之间也不尽自然，很多的暧昧倒是存在的真实，但总有格式化了的感觉，大师的感觉不多。
《法国香颂》影评(三)：人人都爱唱老歌——《巴黎香颂》
阿伦•雷奈 Alain Resnais小组：http://www.douban.com/group/15627/
阿仑·雷乃有着惊人的创意，他的作品总能展现电影的又一种可能性，《法国香颂》久闻其名，今晚一看，果然精彩。
雷乃善于进行电影语言的革新，这一点往往能使他的电影有一种化腐朽为神奇的力量。本片讲述的是一个再平庸不过的爱情故事，但雷乃的创新在于：他仔细研究了片中角色的性格特点，配合具体的场景，再选择最适合人物当时心绪的歌曲，播放原声代替对白来传情达意。反过来，演员又根据歌曲进行表演。
欢乐的都市，奇妙的音画对位，一部美妙的电影。
《法国香颂》影评(四)：Same Old Song Commentary
How did Same Old Song come about？
Alain Resnais: After Smoking and No Smoking, Bruno Pesery asked me to film an opera written for the big screen. It probably would have been easy to finance the project in English but I felt that my knowledge of the language was insufficient for such an undertaking. I therefore looked for an alternative. During the work on the adaptation of Intimate Exchanges, the series of plays by
Alan Ayckbourn that led to Smoking and No Smoking, I had become close friends with Agnès Jaoui and Jean-Pierre Bacri. I admired the musicality of their dialogue and their performances on
tage and screen. I therefore asked them if they would be interested writing a screenplay. They replied that they would but, having not appeared in our two "twin films," they didn't want to
write for other actors than themselves. This suited me perfectly. We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film. We
ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous halfhour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme
of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab. Then, as I am a great admirer of the English writer, Dennis Potter, I showed them extracts from his TV films. In some of them, the characters regularly lip-synch to popular songs. And gradually, the outline of the
film came into shape. The challenge was the following: how not to copy Potter, given my passion for his work？ We therefore decided to use French songs rooted in an everyday climate, excluding
any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. Nicole Vedres, with whom I worked as an assistant in 1947 on Paris Mil
euf Cent, told me one day that the novel, in its deｓｃｒｉｐｔions of love and its melodies, could never match so-called popular or music-hall songs. And I've often noticed that popular songs accompany the acts of our everyday lives. If we behaved at all naturally, we'd use song lyrics in conversation.
Your love of musicals is well known and yet it is hard to find an illusion to the genre in Same Old Song.
Alain Resnais: I was particularly determined not to stray into that area. A musical almost always contains dancing or at least movements and gestures by actors to evoke dancing. Once
again, we were aiming for a more everyday style. We wanted the songs to enter the scenes without any warning. If the audience, even only once or twice, could forget that it was hearing a song and think that the words were dialogue, then we would be happy.
Jean-Pierre Bacri: In this way, the songs have a direct link to the theme of appearances because the medium of song is both universal and imprecise or approximate. True, people use it to
communicate and form bonds, but this is also a mask and it's not an ambitious and personal way of communicating. If someone is sad, you say "Every cloud has a silver lining," and he understands what that means. And, at the same time, you don't really reveal your own personality. They are merely a semblance of contacts and relationships. In the film, the family photo shown by my character (Nicolas) that looks like an ad for breakfast cereal is an image of success. The ad for breakfast cereal is a photographic song: "I show you a certain idea of happiness and you think I'm happy."
Agnès Jaoui: We also aimed to talk about happiness and the difficulty of being happy, of what happiness means. For me, one of the reasons why people feel unhappy is because they compare
themselves to others. We are bombarded with images of young, healthy people with a happy family... and we continually compare ourselves to this image of happiness. If you're over twentyfive,
if you're a bit fatter, a bit thinner, a bit taller, a bit more single, a bit more childless, etc.... not only do you feel unhappy, but you also feel lonely, excluded and abnormal.
Jean-Pierre Bacri: In the film, the theme of appearances is balanced out by the thesis. This is a successful relationship. It's taken to its complete and logical conclusion. in this case, on the
yeomen of Paladru Lake in the year 1000. You do 800 pages to deal with the issue fully, and you end up within something thick, solid, expansive - the ideal way of boring other people silly. We
eed brief and simplistic signs, as in advertising or these songs that don't mean anything but that we identify with. They talk to everyone, providing a sort of secret for success encapsulated in
three words.
Agnès Jaoui: And, at the same time, the consumer society, like popular music, is reassuring. We're not saying that it shouldn't exist.
Jean-Pierre Bacri: Not at all. One of the common themes in Cuisine et Dépendances, Un Air de Famille and Same Old Song is the idea that you can go beyond those appearances and get to the
heart of things, despite the dangers of conflict, even with yourself, and the risk of seeing yourself as you really are. Too bad if it's even further from that particular ad and the songs. You discover
yourself. That's the main thing. Discovering yourself.
Agnès Jaoui: Odile (Sabine Azéma) is the character who maintains this need to put on a front the most stubbornly. She is always on top of the world and doesn't understand other people's
uffering because she refuses to accept her own.
Jean-Pierre Bacri: For her, as for many people, admitting one's weaknesses is tantamount to failure. It's a defeat.
In the film, Camille (Agnès Jaoui) has a nervous breakdown just when everything is going well for her. She is in love, she has just obtained her doctorate... Do you think that often happens？
Jean-Pierre Bacri: When you spend years - as someone working on a thesis does - devoting all your energy to a specific goal, once you reach that goal, you end up in a void.
Agnès Jaoui: You say: "So what, I've obtained my doctorate - or whatever - and nothing has changed. I'm not different, better, more beautiful, I'm just myself. I could die tomorrow. What use is it all？" And in general that happens when you're twenty-five or thirty. Becoming an adult, marks the end of a certain dream, a certain projection into the future, and you have to face the present and the absurdity of this life... You are. that's all.
A Merchant Ivory Films Release
in association with
Artistic License Films
resents