Film Review: Slap Her... She's French (2002)
At its core, Slap Her… She’s French is a film of jarring contradictions—a product caught between conception and release, between satirical ambition and clichéd execution. Its superficial plot shows how Texan teen Starla (Jane McGregor), in a bid for a television scholarship, invites French exchange student Genevieve (Piper Perabo) into her home, only to be systematically usurped in every aspect of her carefully curated life. While the film toys with themes of cultural clash and feminine rivalry, it ultimately fails to transcend its own simplistic framework, rendering what could have been a sharp satire into a mildly amusing, forgettable teen comedy.
The film’s most intriguing, albeit unintended, layer is its geopolitical context. It was an international co-production (involving American, British, and German studios) and was largely shot before the seismic events of 9/11 and the subsequent Iraq War. Yet, by the time of its belated release, it inadvertently echoed the wave of anti-French sentiment that swept the United States in 2002–2003. France’s refusal to support the Bush administration’s foreign policy led to absurd retaliations like the renaming of “french fries” to “freedom fries” in congressional cafeterias. In this climate, the film’s central conflict—pitting the “wholesome,” ostensibly proper American girl against the “sophisticated,” manipulative Frenchwoman—tapped directly into a national mood of cultural defensiveness and suspicion. Genevieve embodies a European stereotype of duplicitous charm and effortless superiority, exploiting American naivety. This should have provided rich satirical fodder, questioning American insularity and the fragility of its self-image. Instead, the film largely plays these stereotypes straight, using them as convenient plot engines rather than subjects of critique.
This failure to fully realise its satirical potential stems from a slavish adherence to genre clichés. Director Melanie Mayron, transitioning from her acclaimed acting work on thirtysomething to directing female-centric stories, brings a clear understanding of interpersonal dynamics but lacks a biting comedic edge. The narrative follows a predictable arc: Starla’ initial arrogance, her gradual humiliation, the betrayal by her boyfriend and friends, and a final, redemptive confrontation. The French antagonist is written as a one-note vamp—all knowing smirks and strategic seductions—with little depth or motive beyond a vague continental disdain. Piper Perabo commits to the role with a sly, theatrical energy, but the material confines her to a caricature. Jane McGregor, meanwhile, resembling a Britney Spears clone endowed with acting talent, manages to evoke some pathos as her character’s world unravels. However, her performance is often undermined by the script’s insistence on broad, almost cartoonish humour that undermines any genuine emotional stakes.
The film’s release history further muddied its impact. Premiering at festivals in 2002, it did not receive proper US distribution until 2005 under the alternative title She Gets What She Wants. By then, the fever-pitch of Franco-American tensions had subsided, rendering much of its cultural commentary feel oddly dated and opportunistic rather than timely. This delay contributed to its relative obscurity; it became a curious footnote rather than a defining film of its era. The missed opportunity is palpable: had it been released at the height of the “freedom fries” fervour, it might have sparked more substantive debate, even if its execution was flawed.
Structurally, the film also suffers from tonal inconsistency. It veers uneasily between scenes of genuine cruelty (the systematic destruction of Starla’s social standing) and over-the-top physical comedy that belongs in a slapstick farce. This imbalance prevents the audience from fully investing in either the satire or the heartfelt coming-of-age story it intermittently gestures towards. The supporting characters are mere archetypes, serving as pawns in Genevieve’s game rather than believable individuals.
Slap Her… She’s French is a film that recognises a ripe cultural moment but lacks the courage or skill to interrogate it meaningfully. The performances, particularly from McGregor, hint at a better, more nuanced film lurking beneath the surface—one that could have explored the insecurities of American adolescence through the lens of an external, perceived cultural threat. Instead, we are left with a mildly entertaining but ultimately shallow comedy that, much like Starla’s initial scheme, promises more than it delivers. It is less a satire than a symptom of its time, capturing a flavour of early-2000s American xenophobia without ever truly examining it.
RATING: 5/10 (++)
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