Filmed in 1997, On Connait la Chanson (Same Old Song) is a lightweight comedy about the romantic travails of a half-dozen Parisians. Light-years away from Hiroshima, Mon Amour and other titles by director Alain Resnais, the film is resolutely whimsical in a manner that mainstream viewers may find grating. Resnais, who dedicated the movie to Dennis Potter, has his characters pretend to break into song by lip-synching to pop tunes, a trick Potter used in dark dramas like The Singing Detective. In On Connait la Chanson, the characters lip-synch not once or twice, but over 40 times to three-dozen French songs ranging from chestnuts by Edith Piaf and Maurice Chevalier to rock songs by contemporary groups like Telephone.

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What may have been intended as playful comes off as unbearably leaden and incongruous instead. Chance meetings set the slight story into motion. Camille (co-screenwriter Agnes Jaoui), a tour guide who is completing a post-graduate thesis on 11th-century peasants, bumps into Nicolas (fellow screenwriter Jean-Pierre Bacri), a married chauffeur with a reputation as a womanizer.

Nicolas used to date Camille's sister Odile (Sabine Azema), a high-strung businesswoman who's married to Claude (Pierre Arditi). Odile tells Nicolas over dinner that she wishes Claude were more passionate.

She doesn't realize that Claude's thinking about leaving her for another woman. Camille attracts the attention of Simon (Andre Dussollier), a writer of radio plays who moonlights as a realtor. But Camille falls for Simon's unscrupulous boss Marc (Lambert Wilson), who is in the midst of cheating Odile in a real-estate scam. Meanwhile, Simon shows apartments to Nicolas, who is considering moving his wife and children from England to Paris. Btelinx windows application free download for mac.

These and subsequent events have an oddly inconsquential feel. Odile mistakenly thinks Nicolas is cheating on his wife.

Camille suffers from a mysterious shortness of breath. Nicolas, a hypchondriac, visits a number of doctors to find an explanation for his own ills.

Marc threatens to fire Simon. Resnais films all this material in a dry, matter-of-fact manner that tends to flatten out the action and drain it of credibility. It's only when the characters start lip-synching that the film displays any energy.

Unfortunately, the songs sound like novelty numbers that lack emotional depth and resonance. Resnais may have intended the songs to emphasize the characters' isolation, their inability to express themselves except in terms of cultural clichs. What viewers will probably focus on instead is the sheer absurdity of the musical numbers. When the middle-aged Claude apparently uses a woman's voice to sing a loudly orchestrated disco tune to a tearful Camille in the middle of a cocktail party, the effect can't help but be jarring.

Apart from the music, other artistic decisions in the film are puzzling. During the long party sequence that serves as the film's climax, for example, Resnais superimposes images of jellyfish over the faces of some of the characters. Most viewers will have lost patience with On Connait la Chanson well before the fish appear, however. --Daniel Eagan.