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

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

MartinHafer In most of his films, Fabrice Luchini plays very ordinary looking little guys--nice but far from a lady-killer. Here, he plays pretty much the same sort of nice, safe guy...and inexplicably, a gorgeous, young free-spirited lady seems to want him! What gives?!When the film begins, Bertrand (Luchini) has been hired to defend a rich lady in a murder case in Monaco. She apparently killed her gigolo boyfriend...a man with mob ties! Bertrand seems like a good choice--he's a well respected lawyer and his image is squeaky clean. However, because of the mob involvement, his client orders a bodyguard, Christophe (Roschdy Zem) to stick to Bertrand and protect him...just in case. While Bertrand isn't comfortable with this at first, he comes to like the very laconic Christophe.Early on his time in Monaco, Bertrand meets Audrey (Louise Bourgoin) at the local news station. She is a VERY chipper and full of life...and oddly seems very interested in Bertrand. In fact, she soon begins to throw herself at him...and you wonder why. Perhaps she's turned on by how successful he is....perhaps she's an evil assassin...perhaps she's just had a head injury! All you know is that she not only wants to be with him...she WANTS him and is more than willing to put out for him! And, at the same time, Christophe, who knows Audrey, is NOT happy about all this and advises Bertrand to keep his distance from her. So what is going to come of all this? See this movie.Generally, I would say that you should watch ANY Luchini film. He is a delightful actor and has a habit of picking really interesting projects and he's one of my favorite Frecnh actors. Even in his less than great films, he is never boring and plays the sort of character the viewer can't help but like. This is THE reason I watched this movie in the first place...Luchini.So is this a really good Luchini film? No. His acting is great and I enjoyed the film BUT the ending is a real downer. Worth seeing, yes....but the ending really left me frustrated.

writers_reign Alas, my Summary isn't going to work completely in either French or English: The French pronounce Ann Fontaine's surname Fontenay which means they're unlikely to get the Trevi word-play but on the other hand coin is French for corner so a by-lingual person will twig that I'm referring to the three corners Fontaine brings together here, not so much doctor, lawyer, Indian chief as lawyer, weather girl and bodyguard. Billy Wilder has a lot to answer for on several counts but not least for his masterpiece (or one of them) The Apartment which is a laugh-out-loud comedy for the first hour then switches effortlessly to drama and because it was Wilder he made it look so easy that everybody and his uncle Max thinks he can do it too. Ann Fontaine isn't everybody; with twelve complete films under her belt and a thirteenth in the Cutting Rooms she's a formidable talent, one of an elite group of female French directors who have given me personally hours of pleasure - I'm referring to, in any order you like, Marion Vernoux, Nicole Garcia, Valerie Lemercier, Toni Marshall, Danielle Thompson, Agnes Jaoui, Noemie Chomsky, Diane Kurys et al. If this isn't quite top-drawer Fontaine it'll do until another top-drawer Fontaine comes along. Fabrice Luchini, that most quirky of French actors both on stage and screen (and rumored to be engaged to Fontaine, who may herself still be married or may not have been married as the case may be - and you think THIS film is ambiguous) is at the head of proceedings as a top avocat shipped to Monaco to defend the mother of a gangster (Stephane Audran wasted) on a charge of murdering a gigolo; because of the delicate nature of the case the gangster supplies Luchini with a bodyguard who may or may not develop a sexual attraction to Luchini; the third element is a local weather girl with a moral compass that makes Sadie Thompson look like Rebecca of Sunnybrook Farm. Inevitably the up-tight lawyer allows himself to be seduced by the bimbo half his age and equally inevitably it ends in tears. Though I enjoyed it, as I have all the Fontaine films I have seen I wouldn't in this case (unlike the others) want to see it again.

napierslogs Bertrand (Fabrice Luchini) is a lawyer on a high-profile case in Monaco, and then he meets Audrey - "The Girl from Monaco". It could be interesting except there is nothing in these characters to connect us to them.The three main characters, Audrey, Bertrand and his bodyguard had really strange relationships with each other. Way too intimate of conversations for virtual strangers. So I felt further away from them and never could care for them.I also never could figure out what genre this film is supposed to be. The plot outline reads like a thriller, but it says its supposed to be a comedy and it plays out more like a romantic drama. I can see the comedy elements, and it is light in its nature, but it's not laugh-out-loud funny. It's too strange to be romantic, and nothing interesting develops to make this a thriller. Perhaps it really is a comedy as it claims, just a not very funny one.It has high production value, it's shot well, and "The Girl from Monaco" is definitely beautiful, but there's nothing in the story to recommend it.

Terrell-4 For those with multiple personalities, The Girl from Monaco (La Fille de Monaco, directed by Anne Fontaine), could possibly do more good than therapy. Is it a light romantic comedy of a middle-aged lawyer's ego and the uninhibited sexual spirit of a ditzy television weather girl, combined with a trial for murder and hints of the Russian mafia? Is it a male melodrama of irony and rue where a middle-aged lawyer's gonads lead him into humiliating situations that are at once humorous and embarrassing, and where an erotic and selfish female weather reader is manipulating his hormones? Is it a sad set of experiences where lust and manipulation lead to unexpected but justifiable justice, only leavened by the sense that certain actions were well-served and that the protagonists understand, finally, their behavior? In other words, The Girl from Monaco is a movie with, at times, great charm and amusement, but which falls on its face because the director cannot make up her mind what she wants her movie to be about. With each shift into the next line of the story, we can't help but finally realize that the line we just left is something we'd rather stay with. Fontaine isn't deliberately leading us on, in my opinion, but she seems to keep changing her idea of the house she's building after construction has started. Bertrand Beauvois (Fabrice Luchini) has traveled from Paris to Monaco to defend a woman charged with murdering a man she may or may not have been having an affair with. Beauvois is a top lawyer who wins his cases but seems to have less luck with women. He's a whiz with words, though. Because the murdered man was a Russian with Russian mafia connections, Beauvois is assigned protection, Christophe Abadi (Roschdy Zem). He's a tall, lean, taciturn man who insists on doing his job. When Beauvois, a pale, unimpressive-looking man with a modest sense of humor along with a sense of his own importance, meets Audrey Varelia (Louise Bourgoin), the ditzy, uninhibited weather reader, we can see speculation move to lust with all the single-minded drive of a teen-ager looking at a Playboy centerfold. What we also see is Christophe's disapproval...and we see Audrey's uninhibited, free-spirited ways with her body that completely capture this little lawyer. Trust me, this all is played for amusement centering on the fragile egos of middle-aged men who actually believe gorgeous young women may fall for them. When we see what a collection of partying freeloaders Audrey runs with, the movie starts making us uneasy. When we see how casually manipulative Audrey can be, using her erotic charms to capture poor Bertrand by his hormones, it's hard not to smile...and be uneasy. All the while the silent and serious Christophe tries to keep Bertrand ready for the trial each day. As Christophe does his job, it turns out he might have a bit of history with Audrey. She seems to have known, in exactly the Biblical sense, just about every man she's ever met. What can I say? Bertrand gets his. Christophe gets his. Audrey gets hers. I'm not talking death. Necessarily. And I'm not talking about grim irony. It's just that a movie, even one with all the finely nuanced amusement of the first third of this one, that ends with the audience likely giving a shrug hasn't, in my opinion, been able to hold itself together. Fabrice Luchini is excellent. Roschdy Zem is impressive. And blond, built Louise Bourgoin, in her first movie, managed to keep me lusting after her even when the last thing I knew I'd want would be to find myself in Bertrand Beauvois's shoes. The movie isn't a mess by any means. It just doesn't know what it wants to be.