Films aren’t what they used to be. But not just the medium itself has changed (gaining sound and colour), but so have the story lines. Films in the 50s used to be influenced by a patriarchal world view. Men were the heroes – regardless of genre – and opinion leaders and the ladies tried to win their attention and affection with their beauty, wit or charm. Today women are emancipated, voice their own opinions and male characters are frequently just as „soft“ as females. Generally all characters are developed in more depth today than they were at the beginning of movies or even still in the middle of the last century.
This development goes hand in hand with changes in our social environment of course. It is thus even more surprising if a 2013 production feels like it’s just been catapulted onto the screen from a 50s production studio. Now one could think I’m enraged about this, but I am not at all. I am more so surprised, amused and almost a little impressed.
Mademoiselle Populaire tells the tale of Rose (Deborah Francois) and Louie (Romain Duris). It’s 1958 and NAME is in her early twenties. She works at her dads shop in a little village, but dreams about the big city. Secretly she teaches herself how to use the typewriter and then applies for a job as a secretary at an insurance traders office. She is hired for a trial period, but really is no good in anything but typing. But because her boss thinks she could win the fast typing competition for him, she may stay. A long training phase begins and the two of them – of course – get a little closer with every class. She is enthusiastic and stubborn, he is handsome and sensible. It is a story that Audrey Hepburn would have been perfect in. The film keeps referencing past dramaturgies and creates an own kind of humor in this exaggeration. Somehow it takes the viewer on a jolly trip into the world of typewriting, competitions and screaming girls – apparently a fast typing girl was just like a pop star then.
Mademoiselle Populaire isn’t great cinematic art, but an enchanting film and an homage to a cinema that is long gone, but certainly had it’s advantages.
Mademoiselle Populaire (D: Régis Roinsard, F 2012)
