Mein Ein, Mein Alles

Die Partnerbeziehung Nr. 3287. Der Film hat alles, was zu ihr gehört, dazu eine Länge von 130 Minuten und ist absolut konventionell. (14.03.2016)

At one point, Georgio exaggeratedly refers to himself as the king of the idiots. I would like to believe that this is how the director intends for us to perceive him for most of the film, i.e. not through the incorrigibly loving view of Tony, who never stops idealising her partner even after he has robbed her of her good mood, her nerves and all of her furniture. Whereas melodramas mostly try to convince us that true happiness consists in love until death do us part, the love in My King draws not only the best qualities out of people, but also their worst, which gradually prevail. Just as in real life, the central couple’s relationship turns into a war of egos and an exhausting cycle of breaking up and making up, sustained partly by faith (that things will be made right) and partly by fear (of being alone). In this respect, the film is as painfully truthful as in its unembellished depiction of arguments, drunkenness and the effort to walk off a broken knee. Due to its repetitiveness, however, this film packed with perceptively observed situations is as tiresome for the viewer as Giorgio and Tony’s relationship is for them. This time, even more than in Polisse, Maïwenn relies on charismatic actors who fully embody their roles and whose seemingly improvised dialogue, arguments and bedroom games are more or less adapted not only to the length of the individual scenes (exaggerated), but also to the dramaturgy of the film as a whole (relaxed). The attempt at authenticity, which is relatively successful with the exception of a few hysterical escapades, is undermined by the fact that the film – together with the protagonists – becomes increasingly unbearable and from a certain moment it does not even convey anything new, instead only blurring the protagonist’s displays of growing emotional instability (which conversely makes it highly melodramatic). Furthermore, I’m not sure whether or not the film is a warning against unintentionally falling in love (and relationships in general), but thanks to that, there is a decent chance that My King will appeal to both cynics and romantics. 70% (20.10.2015)

A classic relationship drama that doesn’t make much sense, just like relationships in general, but on the other hand, it hypnotizes you so much that you want to know more and more. And so, you watch and watch and at the same time you are starting to realize that this is possibly the most positive role of Vincent Cassel’s career; it doesn’t evoke fear, disgust, or anger, unlike his other roles. Well and when you get the impression that the movie is getting really long the filmmakers, very subtly and in a French way, end it. So, the only thing that stays in your mind is that one French couple that met the fate it did and you can do nothing about it anyway. (04.04.2018)

Es mag verwirrend klingen, dass Maïwenn "lediglich" etwas präsentiert, was von Hunderten zuvor bereits gedreht worden war. Doch wir sollten hierbei nicht vergessen, dass ihre Version der Geschichte einer turbulenten Beziehung voll mit brillanten Dialogen, geschickt gezielten Situationen, leicht zu liebender Charaktere und Vincent Cassels königlicher Energie ist. Dies ist eine seltene Situation, wo Abstand, Zugänglichkeit und Intelligenz in einem romantischen (Melo-) Drama Hand in Hand dahinschreiten. [Cannes 2015] (18.05.2015)

Ein weiteres gutes Beispiel für einen Film, den sie in den USA niemals drehen könnten. Die stärkste Genre-Disziplin für Frankreich und besonders für die Regisseurin. Nach Poliezei bietet Maïwenn erneut einen fesselnden Anblick auf eine destruktive, ermüdende und toxische Beziehung, aus der es kaum einen Ausweg gibt. Die Schauspielleistung von Emmanuelle Bercot ist famos, man darf aber auch nicht den ebenso fesselnden Vincent Cassel übersehen. Die anderen Figuren huschen nur um sie herum, weil wir uns nur auf diese unglaubliche Sinuskurve voller Höhen und Tiefen in einer Beziehung konzentrieren, die einige von uns sehr gut kennen. Unterbewusst oder bewusst suchen wir danach oder wir fliehen lieber, um uns selbst zu schützen. Genau deshalb liebe ich französische Filme. (18.12.2023)

Interesting drama. Or at least a drama with an interesting start, which gradually becomes dull and even more boring. You somehow expect that it will suddenly turn into something great, something amazing, but the movie never reaches that point. Even the scenes of hatred, anger, and conflict are not that great. Only Vincent Cassel shows how great of an actor he is. (03.03.2016)

The story of a relationship that started too beautifully to be lasting. Although the whole story is taken from a woman's perspective, I can't help but feel like I watched a theatrical performance by Vincent Cassel. How he managed the transformation from a charming and witty man into a manipulative egotist is breathtaking. I can't recall him playing a more positive role anywhere, even though here he is actually the one primarily responsible for the relationship breakdown and his partner's psychological instability. However, Emmanuelle Bercot doesn't lag behind in terms of acting either; her fits of hysteria literally send shivers down the spine. The film is further adorned with particularly brilliant dialogue. It is also interesting to observe Emmanuelle's alternating happy or euphoric states and her expressions of despondency or depression. At the end, there remains an unpleasant taste that reality often bears a striking resemblance to it. (85%) (06.03.2020)