At the direction of this feature film, Martin Bourboulon. He accustomed us to romantic comedies with Mom and Dad and its sequel. The director changes a little register and this time tackles a "biopic" romanticized on the famous engineer and architect who erected the largest Parisian monument. Synopsis: Having just finished his collaboration on the Statue of Liberty, Gustave Eiffel is at the peak of his career. The French government wanted him to create something spectacular for the 1889 Universal Exhibition in Paris, but Gustave Eiffel was only interested in the metropolitan project. Everything changes when he meets his childhood love again. Their forbidden relationship inspires him to change the skyline of Paris forever. The film begins in a dark room, with a background silence that creates unease. Eiffel comes out of the first floor of the tower and we discover through this exit the immensity of the Parisian capital from the top of the tower. To put it simply, we are at the conclusion of the film. What follows is a story evoking ambition, love but especially the construction of the famous Eiffel Tower.
A brilliant achievement tinged with darkness
It is interesting to see how the film stands out from other French productions when we analyze the careful and inspired direction. All the elements are gathered to allow this feature film to stand out thanks to the transcription of the time, the multitude of shots and a quality acting. Two distinct tones seem to emerge when we watch the film. A certain intimacy is present throughout the film so that we can share the doubts, anger and weight of this heavy task that falls to the character. Many night scenes are present. In addition to the dark aspect rather present thanks to the night scenes, the couple and all the scenes where our duo is reunited, allow to bring a certain radiance, a welcome light. All these sequences are carefully dosed, which balances the film. 
The sequence shots bring a certain accuracy. The camera is constantly moving, it follows the state of mind of the character. The special effects are a success. We owe it in particular to the collaboration of Olivier Cauwet who worked on the immense Blade Runner 2049, a monument of aesthetics and a more than respectable sequel to the legendary first opus.
A successful casting?
Romain Duris is no longer to be presented. The hero of the Spanish inn puts on top hat and tuxedo to interpret an angry and ambitious Gustave Eiffel. Under the air of a Hugh Jackman, he finds a certain accuracy of interpretation for each of these scenes. He brings this modern and rock era into a Paris of the industrial era that changes very quickly. He is a chameleon who succeeds in his adaptation especially when we spend flashbacks to the present time. A totally credible Eiffel, with an insatiable appetite for the two loves of his life, Adrienne and the Eiffel Tower. 
The young actress of 25 years, Emma Mackey revealed on Netflix in Sex Education is Adrienne. The Franco-British is a wise choice. Indeed, she is not yet identified by the general public in France which fits well the mysterious character of Adrienne. Her somewhat stereotyped character is that of the young bourgeois wishing to take a different path by extricating herself from her privileged cocoon. The particularity of the young woman is to be able to instill a certain form of doubt within the story, she is also the engine of ambition of Gustave Eiffel. She can also be considered the main character at certain points in the story. The mysterious aspect that reigns between fiction and reality is brought thanks to this character.
Verdict:
Martin Bourboulon signs a masterstroke with this realization. The cast fits perfectly at the time with actors whose performances are as simple as extreme at times. They take this idyllic and pitiful history to the highest place in the French capital. The soundtrack brings a remarkable work that reinforces us in the immensity of the work that has been done. There is perhaps a feeling of exaggeration in the romantic theme that sometimes takes up a little too much space on that of the main subject. However, this does not detract from the interest of the film or the sumptuous staging. Released on August 25, 2021 in cinemas.
