# Ma vie en rose (1997)

### reviewed by
James Berardinelli

    MA VIE EN ROSE (MY LIFE IN PINK)

    A Film Review by James Berardinelli

    RATING: *** OUT OF ****

    France/Belgium/UK, 1997
    U.S. Release Date: 12/26/97 (limited)
    Running Length: 1:30
    MPAA Classification: R (Profanity, mature themes)
    Theatrical Aspect Ratio: 1.85:1

Cast: Georges Du Fresne, Michele Laroque, Jean-Philippe Ecoffey, Helene Vincent, Daniel Hanssens, Laurence Bibot, Jean-Francois Gallotte, Caroline Baehr, Julien Riviere, Marie Bunel Director: Alain Berliner Producer: Carole Scotta Screenplay: Chris Vander Stappen, Alain Berliner Cinematography: Yves Cape Music: Dominique Dalcan U.S. Distributor: Sony Pictures Classics In French with subtitles

Equal parts fantasy, satire, and pathos, MA VIE EN ROSE investigates the role of sexual stereotypes in today's culture, and shows how the more conservative elements of society encourage conformity and stifle diversity. In terms of both its style and story, this is one of 1997's few unique motion pictures; it's understandable why it has captured a landslide of film festival awards.

Tomboys are a common phenomenon. There is no social stigma attached to a young girl who dresses like a boy, plays rough, wears Band-Aids on her skinned knees like badges of honor, and prefers trading baseball cards to jumping rope. It's regarded as "just part of growing up." Reverse the situation, however. The result -- a boy who adopts the traits of a girl -- is unacceptable. Such a child, who plays with dolls, puts on makeup, and wears dresses, is likely to become a pariah. And that is the situation explored by Alain Berliner's debut feature, MA VIE EN ROSE.

Pierre (Jean-Philippe Ecoffey) and Hanna (Michele Laroque), along with their four children, have just moved into a nice house in a suburban Paris neighborhood. Three of the kids are normal and well- adjusted, but the fourth, Ludovic (Georges Du Fresne), a seven year old boy, is showing "alarming" tendencies. His favorite toys are Barbie- like dolls, he expresses a desire to marry a male classmate when he "grows up and becomes a girl," and he shows up at a party dressed like a pink princess. His mother, convinced that this is a harmless phase, tries to be as supportive as possible, but, when pressure from unsympathetic and close-minded neighbors mounts, she begins to turn on Ludovic. Meanwhile, Pierre doesn't know how best to cope with his son's tendencies, and Ludovic's sometimes-embarrassing displays of femininity threaten to derail his career.

Ludovic can't understand what the fuss is about. After all, everything seems clear to him. When God was giving out chromosomes, his second "X" (of the "XX" pair that signifies a female) was lost in the trash and he somehow got stuck with a "Y" instead (for the male "XY" pair). As a result, he's a "girlboy," but, when he grows up, he's convinced that he'll be a woman. So why shouldn't he wear makeup and dresses, and play with dolls? And why is it wrong if he arranges a mock marriage with a boy in his class? When his parents and his schoolmates react angrily, he doesn't understand their surprise, discomfort, and rage. He just wants to do what feels right, yet everyone hates him for it. Those who assume that he's gay have missed the point entirely -- sexuality isn't even an issue, at least not at this young age. MA VIE EN ROSE isn't concerned with Ludovic's eventual sexual orientation.

One of Berliner's successes is his ability to effectively realize multiple viewpoints. While MA VIE EN ROSE gets into Ludovic's head and convincingly presents his confusion regarding the adults' negative reactions to his behavior, it also conveys the sense of near-panic that grips his parents. They love their son, but don't know how to (or whether they should) break him of his feminine obsession. The resulting stress tears at the fabric of their marriage, and their disapproval threatens to destroy Ludovic.

Another standout aspect of the movie is its strong, vivid use of colors. Nearly every hue of the spectrum is represented in pastels and fluorescents. There are red outfits, yellow cars, green bushes and grass, pink garage doors, red shutters, purple shirts, orange dresses, and so on… Color is an important element of MA VIE EN ROSE, and its use in both the strange reality of Ludovic's world and the surreal fantasyland to which he occasionally escapes is a testimony to Tim Burton's influence on Berliner. In the end, it's apparent that the intense colors of Ludovic's neighborhood do little to lighten the darkness that lurks in the hearts of many of the residents. To further emphasize their lack of human compassion, Berliner paints many of Ludovic's neighbors as caricatures, and occasionally has some fun at their expense.

Although the most memorable element of MA VIE EN ROSE is the forceful visual style, the director proves himself to be an apt student of human nature. The film works because we understand the central characters and their tribulations. When Ludovic is teased and tormented, it's easy to remember how much unthinking cruelty there is in this world, whether the setting is Paris or next door. But, when all is said and done, MA VIE EN ROSE is more of a fantasy than a straight drama, and Berliner's lighthearted touch keeps the film buoyant when it could easily turn grim.

    Copyright 1997 James Berardinelli

    - James Berardinelli
    e-mail: berardin@mail.cybernex.net

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