This story has more twists and turns than a second-rate soap opera.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

This film is how life should be portrayed. Those raised on a diet of Hollywood love stories where everyone has a new car, large house and unfeasibly white teeth will find this slice of Gallic realism a bit overpowering. Those of us who prefer our cinema with a bit of bite can appreciate the predicament the two leading characters are in and we can rally for them. A honest heartwarming film that moves at a slow pace (but then who meets a girl, falls in love, befriends her children and lives happily ever after in 97 minutes. I was lucky enough to buy this as a withdrawn VHS from my local library and I prize it as one of the 'top drawer' films in my film collection.

I am probably biased against this film, as I am studying it at school in extension french, but this is the most terrible movie I have ever seen. The people simply can't act; the camera angles are always dodgy as, and there is almost no backing music; a terrible film all up.Not to mention, the whole 'old-people love' thing is just gross. Not to rain on anyone's parade, but it is kind of sickening seeing Gerard Meylan's derrière TWICE in the film.All round, a terrible film; no plot, no acting skill... terrible quality piece. I'm sure Robert Guediguian is a very talented director and producer, but this movie was not some of his finer work.

To set a film in and/or around Marseilles and name one of the two eponymous characters Marius is to invite direct comparison with the great Marcel Pagnol and his own great trilogy Marius, Fanny and Cesar (now available as a boxed set from FNAC and though expensive a 'must' for any serious film buff) and without seeing the film the feeling is that Guediguian is either throwing down the gauntlet or paying homage to Pagnol. After seeing the film it is evident that the latter obtains.This was probably the first Guediguian entry - all top-billing his wonderful wife Ariane Ascaride and all set in/around Marseilles - to reach an international audience and what a way to start. You may balk at this director's obsession with downtrodden workers and bloated capitalists but he does have the good sense and/or decency to sugar the pill with an unforgettable love story - indeed it could be subtitled ironically Love Among The Ruins as the protagonists meet in the ruins of a cement works where Marius is employed as a watchman and Jeannette attempts to steal some paint. In an attempt at symmetry there are three couples involved - with the exception of Marius they are neighbors in a shabby project and when I say that one of them is the great Jean-Pierre Darroussin hip movie-goers will need no more prompting to check this one out. Not that Marius in the shape of Gerard Meylan is any slouch if anybody asks you, in fact this trio comprised the menage a trois in Guediguian's last release (two more are in post-production as I write) Marie-Jo And Her Two Loves, and though Darroussin is very much a supporting player here he makes his presence felt. It is impossible to overpraise this movie. I caught it on its initial release and was overwhelmed, I've just purchased my own copy and if anything it is better on a second viewing and will still be giving pleasure long after this season's popcorn specials have faded from the mindless audiences memory banks. 9/10

A rather tender and poignant love story, about Jeannette who is an outspoken woman, and looses her job as a cashier because she is apt to speak her mind once too often. She meets up with the taciturn Marius. They both have painful pasts to deal with. Guediguian creates a finely judged low-key film from this story, weaving in some nice touches about the small community of friends from the industrial area where Jeannette lives. Guediguian's strong left-of-centre politics intrude into the narrative rather crudely at times, but not enough to spoil the film.Recommended.