My mother, God and Sylvie Vartan: a agreed and unequal biopic (critic)
Between portrait of a Jewish courage mother in the 60s and success story of a media lawyer, this film is struggling to find her 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 academism and actors disguised as clichés. 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 (who embodies a Roland from twenty to fifty years), this part confuses by his 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
