Too much of everything

Terrible acting, screenplay and direction.

Excellent, Without a doubt!!

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

In Lorraine, the worker Horty (Olivier Martinez) wins an internal competition promoted by Simeon (Didier Bezace), the owner of the foundry where he works, and the prize is a travel to Southampton alone to see the departure of the Titanic. Once in the hotel in England, a woman called Marie (Aitana Sánchez-Gijón) knocks on his door telling that she is a chambermaid of the Titanic and the hotel is completely booked and she has no place to stay. Horty invites Marie to share his room; on the next morning, Marie is gone but Horty gets her picture with a street photographer. When Horty returns to his French town, he is promoted and his colleagues insinuate that his wife Zoe (Romane Bohringer) had had an affair with Simeon. The upset and jealous Horty goes to a bar with his friends and while drinking, he shows the picture of Marie and tells erotic fantasies about his one nightstand with her. His erotic tales become famous, drawing more and more people in the audience every night in the bar and changing the sexual lives of his friends. His fame reaches the actor Zeppe (Aldo Maccione) that proposes a business with Horty."La Femme de Chambre du Titanic" is a totally original romance that blends the tragedy of the Titanic with the lives of ordinary people, developing an intriguing and erotic love story. The truth about the night of Horty and Marie is disclosed only in the very end, and the viewers are never sure whether Horty is fantasizing because he believes Zoe has betrayed him, or if his affair with Marie had really happened. Surprisingly there are bad reviews in IMDb about this good film. My vote is seven.Title (Brazil): "A Camareira do Titanic" ("The Chambermaid of the Titanic")

Another viewing of this film recently simply left me where I was before: there is something about Bigas Luna which escapes me, or just simply irritates me. Whereas any viewing of Aitana Sánchez-Gijón evidently has its pluses, inasfar as anything else related to the story being told, I think I would rather make do with the pages of Didier Decoin.Having already waded through the insufferable `Las Edades de Lulú' (qv), `La Teta y La Luna' (definitely no qv), the trivial and frivolous `Bámbola' (qv), and the overstated and over-coloured `Volavérunt' (qv), I think I can only be glad that, thus far, I have missed out on `Jamón, Jamón' or `Los Huevos de Oro', among others, without being unfortunate enough to have missed out on anything. But the irritating thing is that Bigas Luna is a genius. Maybe not in the sense of getting the best acting interpretations – he doesn't – but certainly in all other techniques involved in making a film, especially in scene-setting for yesteryear and even longer ago. This is evidently apparent in `La Femme de Chambre du Titanic' and `Volavérunt', in which the Italian Franca Squarciapino is clearly one of the best specialists in the matter: the period costumes are superb in both films. I see on IMDb that she had plenty of schooling back in the 1980s with operatic productions.So I patiently sit here awaiting the next Bigas Luna – more or less anticipating what it will be, because I am definitely in no rush for it, and will not even be sorry if it goes by without my catching on. But if it does turn up, you can be sure I shall be watching: there is something fascinating about a man whose films do not exactly end up being very appetising fare but which show such remarkable cinematographic talent.

This collaboration between France and Italy is simply a very original movie, with a scrip of a great intelligence. We don't really know if Olivier Martinez is telling lies, but like the people who listen to him, we want to hear him and believe him. And like in a great short story of litterature, we know the true at the end, but the director told us, in a little part, that it's not really sure... The idea of shows in little theatres, by the last half of the film, is simply brillant. I have study the reaction of people with melodrama at this time of the 20th century, and we saw that in this filmexactly like it was in the early 1910's. This is truly a wonderful movie.

I love this film; it dares to let the audience be soaked in wonderfully melodramatic and lustfully vulgar scenes. Feelings and drama make the film rattle, and when, in addition to this, the humor is so frequent, this film can't fail. It is erotic, wonderful, lovely. Ace.