Alain and Marion, the heroes of ‘Quand j’etais chanteur‘ (the English title is ‘The Singer‘) directed by Xavier Giannoliand released on screens in 2006, meet, feel attracted to each other, and spend together what could have remained a one-night stand. Only then does a complicated relationship start between them, which is likely to be heading towards a love story. Unlike many such stories from other films, but maybe as it happens not only on many occasions in life, love is not a pre-condition of the intimate relationship, but the other way.
The relationship between Alain and Marion has every chance to lead to nothing. There is about 20 years of age difference between them, and both go through deep and different crises. Alain Moreau is a singer who crossed the 50 years threshold and is beyond the peak of his career and vocal abilities. He sings in dance clubs and at various social events, interprets covers and knows how to dialogue with an audience made up of mostly aged women. He is passionate about what he does, but his profession and his career are threatened by the karaoke trend and the sunset of the dance halls that were once so popular. Marion works at a real estate agency, she is a beautiful woman and an efficient professional, whose private life is marked by a first marriage that seems to have ended very badly for her, leading to the alienation of her son about ten years old. Alain and Marion meet again, they are attracted to each other, but the relationship is hesitant, it needs pretexts, is full of silences and separations. It is precisely this uncertainty that makes the relationship between the two credible. True love stories are rarely linear and straight forward.
The quality of the film owes much to the two lead actors. Gérard Depardieu is huge in this film and he amazes me again with the combination of unique and personal charisma and the way he manages to melt into the role. He plays and sings with passion, loves and asks himself permanently, and at no point do we doubt that he is both Alain Moreau and Gérard Depardieu. Cécile de France is beautiful and vulnerable. Many of the scenes between them are composed of few words, of silence and glances, and yet the chemistry between the two is evident. They seem to be constantly wondering what is happening to them and why love appeared in their path in such an improbable embodiment. Their meetings often take place in mansions or villas for sale, impersonal or personalized by and for others, alien to their experiences in a way that reminded me of Michelangelo Antonioni‘s films. The atmosphere of the dance clubs and the industry of music for consumption is excellently rendered, and I want to point out here also the supporting acting performances of Mathieu Amalric and Christine Citti. The film is sensitive and credible, and has many chances to remain in the viewers’ memory long after watching it.