Despite being based on a 19th-century serial novel, Lost Illusions feels remarkably close to contemporary concerns about fake news and the devaluing of art for profit. But as the story is also, obviously, set in the 19th century, all this bribery and these backdoor dealings are done entirely through the written word and by sending runners from one Parisian theater to the next—and the result is uniquely thrilling. Nearly every character is a terrible person (like in an old-timey Goodfellas way) and it can get tiring seeing the film glorify their hustle, but the energy it brings is rare to find in any other period drama.
"Giannoli has not only produced a meaty and provocative adaptation of a Balzac gem, but also one of the funniest and most romantic films of the year."
— Adam Solomons
"Giannoli knows exactly which buttons to push and for how long. He takes what could have been a fussy adaptation of a dusty tome and turns it into something hugely entertaining."
— Bilge Ebiri
Lucien de Rubempré, a young, lower-class poet, leaves his family's printing house for Paris. Soon, he learns the dark side of the arts business as he tries to stay true to his dreams.
In 19th-century France, a young poet becomes involved in the business of manipulating public relations in the arts through newspaper reviews.
The greatest moments of tension in Lost Illusions don't have to do with any acts of violence or 19th-century gangsters, but in seeing if a theatrical performance will be rewarded with either applause or jeering—the end result of competing newspapers and/or stakeholders in trying to influence various people. But the film is smart enough to go beyond this too; by defining these characters' lives as just a series of transactions, their own relationships and principles become just as easy to buy and sell as well. Again, not too far off from the tabloid vultures and propagandists who toy with public sentiment today.
As a publication ourselves, we at A Good Movie to Watch do not endorse these horrible people (in this great movie).
