My mother, God and Sylvie Vartan: a agreed and unequal biopic (critic)
Between portrait of a mother Jewish courage in the 1960s and success story of a media lawyer, this film struggles to find its real score, despite the energetic interpretation of Leïla Bekhti.
In Paris from the 60s, Esther and Maklouf Perez, emigrants from Morocco, welcome their sixth child. Roland is born with a malformed foot, handicap that upsets the dreams of this modest family. Carried by an unshakable faith, Esther crosses the capital, his son in his arms, consultant doctors and healers until a miracle occurs. From this test will be born the vocation of lawyer for little Roland.
This adaptation of the story of Roland Perez is strangely built in diptych: first there is the portrait of a devouring mother in the Paris population of the 60s. Despite the energetic interpretation of Leïla Bekhti In a courageous mother, the beginning suffers from an agreed treatment, a retro academicism and actors disguised as shots. Bekhti may compose a monumental Esther, the story gets bogged down in the rebatus codes of the family melo and the suffocating mother-son relationship. Then suddenly, exit the mama. Make way for the ascent of a young law student fan of the Yéyé star.
Centered on Jonathan Cohen (which embodies a Roland from twenty to fifty years), this part confuses by its brutal change in tone. The film abandons the pastel intensity of the beginning to follow the errors of a man in love and prisoner, who alone can be saved by his passion for the singer. In the end, the admirers of Roland Perez or nostalgic for Sylvie Vartan tubes will find their account there, the others may be disappointed with this story which never chooses between the family saga and the biopic of a media star.
From Ken Scott. With Leïla Bekhti, Jonathan Cohen, Joséphine Japy… Duration 1h40. Released March 19, 2025
