Up for Love | Little White Lies

Up for Love

05 Aug 2016 / Released: 29 Jul 2016

Two skydivers, one in a yellow and black suit, the other in a grey and red suit, standing in a field of yellow flowers.
Two skydivers, one in a yellow and black suit, the other in a grey and red suit, standing in a field of yellow flowers.
2

Anticipation.

The original was a hit…

2

Enjoyment.

Really?

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In Retrospect.

Wholly forgettable.

The hilar­i­ty of being a short per­son is lever­aged in this very sil­ly, sin­gle-note French rom-com.

In this Fran­co-Bel­gian remake of the 2014 Argen­tinean rom-com Corazón de León, Diane (Vir­gine Efi­ra) for­gets her phone in a restau­rant and finds her­self receiv­ing a call from the man who finds it: a charm­ing archi­tect named Alexan­dre (Jean Dujardin) who con­vinces her to meet him for lunch the next day. The twist? Alexan­dre is 45”.

That’s real­ly all you need to know because from then on the film degen­er­ates into a cas­cade of labo­ri­ous jokes large­ly revolv­ing around Alexandre’s small stature. He strug­gles to reach things on the top shelf. He finds him­self wear­ing the same out­fit as a 10-year-old boy. It wears extreme­ly thin, and yet, unbe­liev­ably, the height gags just keep on com­ing. We get it, guys. He’s short.

Much of the con­flict revolves around Diane’s dif­fi­cul­ty to move past the bemused, and often crass respons­es of friends, fam­i­ly and bystanders to her new rela­tion­ship. The prize for the most absurd reac­tion goes to her moth­er (Manoelle Gal­lard), who upon find­ing out who her daugh­ter is dat­ing, pro­ceeds to dri­ve against an oncom­ing stream of traf­fic for sev­er­al blocks. So far, so improb­a­ble. It’s not that the film doesn’t try to make legit­i­mate points about atti­tudes towards social acceptance.

An exchange between Diane’s despair­ing moth­er and her deaf hus­band is par­tic­u­lar­ly illu­mi­nat­ing (‘You live with an invalid too,’ he tells her. Yes, but it’s not phys­i­cal, she replies tact­less­ly, it’s doesn’t show’). It’s clear­ly includ­ed to under­line the hypocrisy of her refusal to accept her daughter’s rela­tion­ship on the basis of a phys­i­cal, and there­fore vis­i­ble impair­ment. It’s a shame then that inter­est­ing moments like these are large­ly swept under the rug in favour of Alexan­dre being repeat­ed­ly tack­led by Luchio, his enor­mous dog.

The two leads man­age to give sol­id per­for­mances despite the sub­par mate­r­i­al they have to work with. Dujardin in par­tic­u­lar man­ages to bring some lev­el of depth to the role so that his character’s height isn’t entire­ly played for churl­ish laughs. The rela­tion­ship between Diane and Alexan­dre is sweet to watch on occa­sion, but even Efi­ra and Dujardin can’t save it from an influx of dread­ed Hol­ly­wood clichés. They’re both decent actors. It’s unfor­tu­nate that their tal­ents are wast­ed on a film that nev­er man­ages to rise above mediocrity.

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