With Love...from the Age of Reason

“With Love…from the Age of Reason”
2010 – France – Comedy
Director/Screenwriter: Yann Samuell
Producer: Christophe Rossignon
Cast: Sophie Marceau and Jonathan Zaccai

“With Love…from the Age of Reason” (L'âge de raison) is a light-hearted chick flick that poses the question, what would my 7-year-old self think about who I have become? Reminiscent of “13 Going on 30” but without the magic dust, this French film shows the contrast between the kid and adult version of the same woman. Filled with mostly innocent memories and sugar-coated depictions, “L'âge de raison” only lightly touches on the hardships Margaret (Sophie Marceau) went through that same year. Despite its unrealistic nature, the film is whimsical in its approach to remind audiences what they once believed in. The movie’s heart and humor will connect well with viewers wishing to overlook reality along with Margaret for 90 minutes.

Margaret is first shown on screen as a regal business woman who reached the top of her firm. One day, an old man whom she does not recognize randomly shows up to bring her several envelopes mystically carrying letters she wrote to herself 33 years ago. She was meant to open them on her fortieth birthday, an age which she then considered, “the age of reason.”

Throughout the film, we see several of these letters played out as flashback memories. We get to know the softer side of Margaret, someone who once cared about life and had an imagination. This contrasts the high-strung coffee addict who we first saw commanding attention with her clacking heels and business suit. The letters are each delivered in planned segments, each time delving more and more into Margaret’s past. We learn about her family life, her best friend Peter and even a buried treasure. The audience picks up on the juvenile “treasures” of trading cards and ribbons, all of which contained meaning to a young girl. The skeptical Margaret eventually comes to terms with her young self, realizing that she had understood “the age of reason” more at seven than at 40. Margaret reminds herself and the audience to remember a time when the idea of treasure spanned beyond the scope of wealth and power.

Probably the most fascinating letter that Margaret receives involves a series of letters regarding her 7-year-old self’s idea of a proper career. She gave herself five options ranging from “princess” to even “cake maker.” Showing her intelligence, she even gave herself the choice of “other”. Since Margaret’s choice as a career woman was not one of the ambitious choices, she reluctantly has to open this letter. It is this acceptance that affects her the most, eventually tying the film to a touching close.

The dialogue is often cheesy and lacks any kind of ingenious substance. The stand outs in the script are found in the 7-year-old’s written letters that are read in voice-over. They are remarkably profound and honest – two qualities the adult Margaret has lost sight of scheming on money-making business plans.

This film often used colorful and crafty ways of illustrating the childlike drawings and dreams found on the letters. The filmmakers were bold to delve into artistic qualities like the use cut-out animation. The original elementary art-class style of artistry was fitting and helped enhance the hum drum dialogue. This format successfully connected the viewers to think about their own childhood, reminiscent of the days of innocence, sticky fingers and make-believe.

Filled with self-realization and personal ambition, Margaret responds on screen to connect with the skeptical viewer. Once we get the childlike memories of her, we learn the merit behind her personality and actions. While watching, I could see my creative 7-year-old self too, and wondered if she would be disappointed or satisfied with who I am.

Stylistically, this film stayed basic in its filming techniques outside of the letter illustrations. The film luckily strayed from fancy camerawork it could have used to be more obvious. Fortunately, the filmmakers stayed away from a Scrooge-like montage of time as well. Instead, the sense of time was easily conveyed through the set designs. In the flashbacks, vivid colors were used to mirror the happier times in Margaret’s life. As the audience discovers Margaret’s troubles from the year she was seven, the colors become duller. The set often mimics the costumes of the different decades as well. As a business woman, Margaret has forgotten the use of color in her wardrobe, constantly wearing black. When she was a young girl, printed and colorful dresses were prominent.

Although the scenes between the kids were all loveable, the most “aww” evoking scene for the romance junkies in particular was the innocent “marriage” between young Margaret and her childhood best friend Peter. The young Margaret captures sincerity with her simplistic acting and naïveté. Unlike the 40-year-old Margaret, she is less vulnerable and more admirable as a character, therefore more approachable for the audience.

This film was a nice break from the tear-jerker dramas and ridiculous comedies. Its playful attention to detail stayed true to the childlike fantasy it sought to portray. Its’ themes were obvious but not obnoxious in their delivery. The growth of Margaret’s character is easy to follow, as well as intriguing and pleasurable to watch. The audience learns, with Margaret, that the letters and memories are not meant to criticize, but to inspire the continuation of the dreamer within ourselves.