Le Mari De La Coiffeuse...nice to watch!

"Watch the clip"
yes he is born to dance,The film begins in a flashback from the titular character, Antoine. We are introduced to his fixation with female hairdressers which began at a young age. The film uses flashbacks throughout and there are frequent parallels drawn with the past. Though Antoine tells Mathilde that 'the past is dead', his life is evidence that on some level the past repeats itself. As a young boy he fantasised about a hairdresser who committed suicide and as a man in his 50s he begins an affair with a hairdresser which ends after ten years in her suicide. However there are differences, Mathilde commits suicide because she is so happy she is afraid of the happiness she has found with Antoine ending. We are unsure what Antoine has done with his life; we know, however, that he has fulfilled his childhood ambition: to marry a haidresser. The reality proves to be every bit as wonderful as the fantasy and the two enjoy an enigmatic, enclosed and enchanting relationship. The final sequence shows Antoine, in the salon, dancing to Eastern music just as he has done throughout his life. His last line is the enigmatic comment that the hairdresser will return.I agree that it feels as warm as a hug and as fanciful as a dream.  Much like in a fairy tale, real life hardly seems to be a factor here.  As you point out, “we never see them eat. We never see them sleep. We know they live in a room above the shop, but we don’t see it.”  However, despite a story of fairytale proportions, when Antoine plays music and dances to it, I do feel the film should  provide reasons for these choices.  Otherwise, how can we fully understand Antoine’s actions?


so i conclude the below:
Much to his father’s disapproval, Antoine wants to marry a hairdresser when he grows up.  Having become sexually aroused by a female hairdresser at the age of 12, Antoine (Jean Rochefort) appears to lack ambition towards anything else in his life.  When the local hairdresser/his infatuation commits suicide, it only makes his desire stronger.  As an adult, he fulfills his goal and marries a hairdresser, Mathilde (Anna Galiena).   Antoine proposes to Mathilde after visiting her barber shop just once.  They quickly elope, and we never see them do much of anything else other than happily co-exist.  But this is no happily-ever-after ending.  As Mathilde becomes fully aware that their fantastical romance cannot last forever, Mathilde takes an expected jump when she decides that the possibility of Antoine not loving her someday is unbearable. From start to finish the voice-over narrative is engaging and effective, revealing Antoine’s innermost fantasies and establishing a character driven more by feelings than by rationale.  Antoine’s sexual awakening as a young teen is not usually given this type of casual and light-hearted tone in other films, and the film is erotic without ever getting smutty.  Instead, Antoine’s desires are endearing and definitely engaging.  Anna Galiena is well cast as the object of fantastical desires, and her performance is believable despite unbelievable circumstances. Despite being adept at creating a sense of desire throughout the film, Leconte isn’t working with enough substance to propel this film into greatness.  Antoine has a suspiciously drawn-out dance number on a film, which means there’s padding in a film that’s only 82 minutes long.  This would have made a great 30 minute short film., and without being privy to voice-overs for other characters, the motivations often feel plot-driven.  The end comes as a shocking revelation, and while it is refreshing, it feels too big for this film.