LOVE SIMON, great story to the idealism – Critical

After her lovely Baby mode d’emploi, Greg Berlanti lends itself to the game of adaptation with a tenderness all welcome. Umpteenth adaptation of a novel of teen reads to success, Love, Simon is clearly essential as an entertainment deeply benevolent, filling the beginning of summer a light on courageous.

The base material is smooth, but moving is an ideal source to provide a light humanist on the issue of LGBT+ on the screen, usually monopoly virtually beatified in the cinema of author. It is clear that the search engines are not rich in works of great public when you type ” romance homosexual “, many of the results are full prior to any works party and other obvious little known. If perhaps the finesse and the psychology instilled by filmmakers less mainstream are missing from this story, it is nonetheless very interesting. In fact, that the event is created around a young gay is -unfortunately – rare enough to be underlined. The choice of a vision as a teenager, candid, and above all dédramatisée promises him a bright future if it receives the attention deserved.

The genius of the film, it is its banality, the transcendence by the dogma. Just another love story. Everything is set up for the audience at the end of a quarter of an hour to forget that what he witnessed is not another heterosexual relationship. It is indeed homosexuality, but treated as any romantic comedy, all-the smile embarrassed at first kiss is a treatment of the most classic. And reason, why would this not be the case ? Whether it’s two male leads, of course, a few twists and turns, but that scénaristiquement do not differ to a family secret or a disease, such as a spring tragic. Homophobia obviously find its place in a few scenes but as a usual form of representation of the bullies, they make fun of Simon, as others laugh at the nerd of the school. And it is terribly refreshing, since it would be very difficult for the detractors of the subject of finding a approach to critical ignominious. This total normal, the linearity of the main plot are, in fact, the more gifts that were to be hoped, even be sometimes… too banal. But at the end of the room to hear a lot of ” This guy, that was me three years ago “, it is necessary to bow down to a sensitivity that universalizes for the best.In addition, the correctness of which this weapon allows him to address the deeper themes than the genre typically allows, and even without that it is a question of two boys. The psychological field covered is beyond sexual orientation to go explore the revelation of individual including. While one aspect concentrates on the dispossession of the self, on the self-image returned, but that inevitably escapes the control staff ; his fantasy is abruptly shattered by a reality that is voluntary that encloses it again. Simon Spier, the one who sees and hears, is as much a victim as he is victimizer, he becomes involved in the life around you with your intentions sometimes bad, but always naive. His character also allows processing of the projection on the other, the dimension close to the investigation to find out who is behind the mysterious correspondent makes it possible to raise the role of technology in the couple, but also the fact of loving a soul before the rest. All these beautiful motivations are served by a distribution sincere, and basically, Nick Robinson , who not only finally more a moue boudeuse : that it is decked out with acne or that he melts in tears, he’s a teenager convincing that it is easy to identify, neither too popular nor too marginal, really human. The mechanical stirring works well, small ideas -certainly the fact of the book rather than the scenario – such as the coming-out reversed, or the Oreos are driving away boredom.

But if one omits this aspect of light, put on the front of the scene of lovers non-hetero-normative, however, there is still little to offer creatively. Thus, it is to be nuanced since it does not escape predictability of the plot is unfortunate, although the latter roles are relatively unexpected, nothing of a point of view of the action cannot break the codes. If the scenes of a sentence are properly brought, there is a real concern of the balance of the sequences, a rhythm that does not always effectively with the issues underlying. The camera has nice support hope, the effort are reduced to a strict minimum. Once again, the shape does sublime not the bottom.

The genius of the film, it is its banality, the transcendence by the dogma. Just another love story.

Despite all that, he deserves to get out of the lot, as he suffers in France of the syndrome shift of the output relative to the United States and, therefore, on-line availability, its future in meeting with us is worrying. However, it was not necessary to retain only one rom-com girl these past three years, this would probably be it. The optimism that emerges from this is invigorating, the crystallization queer here is not activist but has simply the beauty of a first orgasm. Despite a lack of artistic originality so it is a viewing blessed that standardizes this should already be completely. It deserves to be, in sum, to be looked at for its merits, both ordinary and extraordinary, ” eternal sunshine of the spotless mind “…


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LOVE SIMON, great story to the idealism – Critical
Original title : Love, Siimon

Achievement : Greg Berlanti

Scenario : Isaac Aptaker, Elizabeth Berger

Main actors : Nick Robinson, Katherine Langford, Josh Duhamel, Jennifer Garner

Release Date : June 27, 2018

Duration : 1h49min

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