Not a surplus word, not a gesture out of place, not a scene that doesn't contribute to a gradual crescendo of tension culminating in a calm, controlled but devastating climax. A superb central performance, excellent support, and a lean, mean script that's directed with a sparse intensity that delivers every ounce of a stunning psychological payload. Masterful. Film-making at its very best.I was blocked from posting my review for failing to provide 10 lines. I find this baffling. I'm sure I've seen reviews on IMDb with fewer than 10 lines, and I said what I wanted to say in six. Does that make it unworthy? Doubly ironic in this instance, given that one of the things I regarded so highly in this film was the tight concision of its script. Are these 'junk words'? If so, so be it. Oh, one last thing: I find it good practice when visiting reviews of foreign films on IMDb to add one to the score. In the case of The Page Turner, I think anyone would have to double that. Personally I have no hesitation in giving it 10, but I wouldn't expect even reasonable and astute people to necessarily feel the same way. But 7? Mon Dieu!

French screenwriter and director Denis Dercourt's fifth feature film which he co-wrote with French screenwriter Jacques Sotty, premiered in the Un Certain Regard section at the 59th Cannes International Film Festival in 2006, was screened in the Official selection at the 31st Toronto International Film Festival in 2006, was shot on location in France and is a French production which was produced by producer Michel Saint-Jean. It tells the story about a talented pianist named Mélanie Prouvost who lives in France with her parents. Mélanie has been preparing for an upcoming audition for a long time, but when the time has come to perform in front of a panel of judges, a woman interrupts the session to get an autograph and Mélanie loses her focus. Many years later, Mélanie attends an appointment with a woman at an advocate firm in Paris, France and is hired as an apprentice. Although just having gotten settled there, Mélanie has learned that one of the men who works at the firm named Jean is in need of a babysitter as his wife is about to perform at a concert with her trio called Anima, and offers to look after his son. Distinctly and precisely directed by French filmmaker Denis Dercourt, this finely paced fictional tale which is narrated mostly from the two main characters' viewpoints, draws a quietly and increasingly intriguing portrayal of an immaculately well-mannered French woman from a butcher family who without telling who she really is, moves into the home of the woman she regards as the sole reason for her having to let go of her aspirations to become a professional pianist. While notable for it's naturalistic and mostly interior milieu depictions, sterling cinematography by cinematographer Jérôme Peyrebrune, production design by production designer Antoine Platteau and use of sound, this character-driven and narrative-driven story where a renowned concert pianist whom has become fragile after a hit-and-run car accident finds a new friend and admirer in a younger woman who within days of taking care of her son named Tristan whom is learning to play piano, makes such an impression on her that she asks her to become her page turner, depicts two refined, internal and merging studies of character and contains a poignant and timely score by composer Jérôme Lemonnier. This minimalistic, conversational and distinctly atmospheric chamber piece from the late 2000s which is set in the capital city of France in the early 21st century and where a charming stranger with fine credentials whom has been carrying a grudge for years against an influential woman named Ariane Fouchécourt who ignored her when she as a teenager was performing a music piece which could have given her a future as a musician, comes walking into the life of a family with the intention of getting even with the person she holds responsible for her unsuccessful audition and possibility to achieve her childhood dream, is impelled and reinforced by it's cogent narrative structure, subtle character development, rhythmic continuity, mysterious, wickedly romantic and instrumental undertones, profoundly efficient and rarely obscure kiss, understated and memorable acting performances by French actresses Déborah Francois and Catherine Frot and the fine acting performances by French actor Pascal Greggory and French actress Julie Richalet. A gracious, cinematographic and accomplished psychological drama.

This is something I didn't think I was going to see, a Hitchcokian film from a foreign country, in this case France, kind of like Rebecca in some ways. Basically, as a child, ten year old Mélanie Prouvost (Julie Richalet) was a very talented piano player, and her parents decided she should sit the Conservatory entrance exam. The piano playing is going well, but then Mélanie is distracted by an autograph hunter wanting a singed photo from accomplished piano player and jury member Ariane (Catherine Frot), and when Mélanie starts playing again she starts going all over the place. Ten years pass since she failed her exam, with no criticism from the fellow jury members to Ariane, or her apology, twenty year old Mélanie (Déborah François) is working for a law firm. Chief lawyer Jean Fouchécourt (Pascal Greggory) needs someone to take care of his twelve year old son Tristan (Antoine Martynciow) during vacation time, and Mélanie offers her services. At their château outside Paris, she recognises that bitchy jury member Ariane as Jean's wife, recovering from a hit and run accident, and trying to reunite her music trio. With her ability to read music, and having established herself as a member of the family, Ariane is pleased to have Mélanie as her page turner. Of course when Mélanie gets her chance, she manages to spoil the second trio performance and turn Ariane into a nervous wreck, and there is no settled ending, well, Mélanie gets away with all and no punishment. Also starring Clotilde Mollet as Virginie, Xavier De Guillebon as Laurent, Christine Citti as Madame Prouvost and Jacques Bonnaffé as Monsieur Prouvost. The performances by both François and Frot are good, and the revenge element turns this class filled drama into a chilly psychological thriller. Very good!

In the history of cinema,it is believed that films about music are full of happy characters and pleasant endings.There are not so many instances where viewers get to see a film in which music is developed as a central theme which allows a lead performer to proceed towards revenge.French film "La Tourneuse De Pages/The Page Turner" is an exception to this rule.It is an exceptionally good film which shows us that it is quite possible for some people to use music as an element to seek revenge.By making good use of French cinema's leading actors such Pascal Greggory and Catherine Frot, director Denis Dercourt has ensured that his film clicks as these actors have given some of the most restrained performances seen in recent history of French cinema."The Page Turner" is also effective in highlighting social concerns involving poor people who dream of making big in their dreary existence. "La Tourneuse De Pages" would surely be a nice experience for all music lovers as watching it,we can hear good music as revenge theme takes its time.One of the major defect of this film concerns the fact that there are hardly any surprises in store.Astute viewers can easily guess what is going to happen.