SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Delight Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Charles Herold (cherold) Alain Resnais, like a lot of brilliant people, can be interesting even when he's not very entertaining. But in Not on the Lips, he's not even really that interesting.I liked the way the movie began, with the cute credits and the opening shot with the women singing. At that point I had high hopes. As the empty-headed characters chattered, I thought perhaps this was an Oscar- Wilde/Noel Coward sort of thing that would mock the upper classes.But as I watched further, I began to feel that instead, this was just a rather tedious trifle that has nothing to say. So I looked it up on wikipedia, which says it's an old operetta and that Resnais purposely made it as originally intended. Apparently that chatter was supposed to be interesting.I rather liked the music, although it's disconcerting when the subtitles don't bother to rhyme (sometimes they do, sometimes not). It's got a nice look to it. But about a third of the way through I just couldn't see how I could stand anymore of this superficial claptrap, and I stopped watching.

MartinHafer If I hadn't read his name on the DVD cover, I never would have suspected that this rather gushy and old fashioned musical was made by a man so closely associated with the French New Wave. In fact, the film is so far from that, that I wonder if back in the 50s and 60s, New Wave auteurs would have absolutely hated this type of film--it's so...so...unreal. And, it seems to have little to do with so many of his previous films. This isn't necessarily a bad thing--just a very surprising thing.What I also found a bit surprising was the amount of praise some of the reviewers gave this film--especially when there are so many better French musicals out there. The songs in this film were simply not particularly interesting and the characters all seemed so bland and stereotypical. If I had to see another rich person who fretted about how hard it is to be rich or get a good sale price on a designer outfit, I was going to puke.The bottom line is that like American musicals, not every French musical is gold. This film is not another "Les parapluies de Cherbourg" (UMBRELLAS OF CHERBOURG or "Huit Femmes" (EIGHT WOMEN) and despite the presence of Audrey Tautou, I can't see much reason to recommend it as anything other than a dull oddity.

Syl In my opinion, I didn't know that this was a musical comedy. The French make the best films around with character driven story lines. This film has a first rate cast but I didn't care for Lambert Wilson's performance as the American, Eric Thomson. I did love Isabelle Nanty as Arlette, the old maid. She was perfect and memorable. Arlette's sister, Gilberte, has a problem. She has three men in her life including her unsuspecting second husband who thinks he's her first, her first American husband, Eric Thomson, who comes to Paris on business, and a young male artist/teacher Charly who prefers older women. The film is first rate in art direction, costumes, music, casting, and writing. I felt Lambert Wilson was out of place and out of tune as the American. But still, this film has memorable characters and can cheer you right up.

jeffbertucen@hotmail.com Like several other reviewers I was taken to the film 'cold' without knowing anything about it, and after several minutes was expecting the somewhat lacklustre tunes and stock-farce characters to tip over into something edgy and contemporary. Mais non. However is this such a bad thing? Given the French predilection for unflinching realism and tragic endings, Pas Sur La Bouche can be enjoyed as a salute to the traditions of the Comedy Francaise, an expression of nationalist (anti-Brussels?) sentiment, and as a crafted product as lovingly detailed as a reproduction Deco sideboard. One is almost expected to read afterwards that Resnais had an ironic or iconoclastic subtext in mind, but the film seems to be charmingly irony-free throughout. There are no patronising modernist jabs at the shallowness of pre-war bourgeois entertainment, and in fact the period is recreated with a warm and sentimental glow. It can be argued in fact that the play has been not so much adapted for the screen as embalmed, for there are definite longueurs, the singing voices are almost uniformly mediocre, and the lack of varied or outdoor settings does detract. All in all, a charming, civilised and unexpected entertainment from one of the self-styled intellectuals of French cinema, and a brilliant recreation of an ensemble of now-forgotten French 'types'. To get an idea of precisely how far comedy has 'advanced' in 70 years, compare with Legally Blonde or My Best Friend's Wedding and you'll see my point.