Vive La France
It's 1936 in Paris, and World War II is still several years away. But things are by no means paradise... political factions from both the far right and left are warring, violence is common, and in particular a faction of fascists whose policies are disturbing similar to those of the Nazis are beginning to have a great deal of power. In the midst of all of this, a group of entertainers who had been the talk of the town until the economy forced them to close down their old theatre home are understandably depressed and downbeat? What can they possibly do? How about making a kind of Faustian bargain with one of those aforementioned rising fascists and re-opening the old theatre?
From time to time you'll hear certain movies referred to as "The kind of movie they just don't make anymore". "Paris 36" does have a great deal of affection for the kind of American musicals of the 1930's that they REALLY don't make anymore (Busby Berkley in particular, as well as his imitators), but ultimately it's the kind of film that they NEVER really DID make in the U.S., and that they have never STOPPED making in Europe... the kind that blends both the charming fantasy world of the musical theatre with many of the grim realities of a troubled time, and doesn't hesitate to dwell on those grim realities at times. "Cabaret" probably comes the closest, but even that's not quite it.
Director/co-writer Christophe Barratier has made only one previous movie, "The Chorus" (which was nominated for a Foreign-Language Film Oscar), but "Paris 36" seems to be the work of a veteran film-maker with a lot more experience (I'm amazed to think what he might do when he really DOES have that much experience). Filled with snappy dialogue, memorable characters, moments of both hysterical comedy and meaningful drama, and a sheer love of musical theatre that is nearly unrivaled, this is a worthwhile movie on an amazing number of levels.
There's not a single weak performance in the film, but there are two true stand-outs. The first would have to be Gerard Jugnot as "Pigoil", the man who ran the theatre during its golden days but finds himself beginning to be squeezed out a bit after its re-opening (partially due to its new fascist owners), in a performance that sometimes verges on pathos but never becomes overbearingly sentimental. Then there's also the movie debut of the amazing Nora Arnezeder as "Douce", the very reluctant girlfriend of the theatre's fascist new owner, who the owner forces on the performers as one of their new stars, only to have her turn out to be astonishingly talented, with a voice to rival that of the legendary Edit Piaf. (Oh, yeah... she becomes very reluctant to continue the relationship that got her into the theatre when she falls in love with one of her co-stars.) There's also Jojo, Pigoil's young son... living with his divorced mother but longing to join his father in "the business". I don't know quite why, but it seems that only European film makers are able to handle children with such respect and a complete lack of condescension. This is a group of people you will definitely want to spend time with (yes, even the evil ones).
So, what we have is a story with a lot of political implications, both for its own time and for ours, some of the most memorable characters around, a range of emotional tone that goes from tragedy to farce while always remaining coherent and consistent, and a terrific string of songs, comedy routines and production numbers that fans of classic musicals will remember for a long time. I suppose that technically speaking that can't really be called "something for EVERYONE" (there certainly aren't any vampires lurking around, and there are no cowboys anywhere in sight, just for starters), but it's surprising how close it manages to come.
I saw "Paris 36" on Monday the 9th at a sneak preview at the Edina Theatre (at which both Christophe Barratier and Nora Arnezeder were present... talk about cool!), and I'm not sure when it's going to be opening either in the Twin Cities area (it doesn't open here THIS week) or in other cities. But it's definitely worth watching for it. I'd be very surprised if it ddoesn't amaze you as much as it did me.
From time to time you'll hear certain movies referred to as "The kind of movie they just don't make anymore". "Paris 36" does have a great deal of affection for the kind of American musicals of the 1930's that they REALLY don't make anymore (Busby Berkley in particular, as well as his imitators), but ultimately it's the kind of film that they NEVER really DID make in the U.S., and that they have never STOPPED making in Europe... the kind that blends both the charming fantasy world of the musical theatre with many of the grim realities of a troubled time, and doesn't hesitate to dwell on those grim realities at times. "Cabaret" probably comes the closest, but even that's not quite it.
Director/co-writer Christophe Barratier has made only one previous movie, "The Chorus" (which was nominated for a Foreign-Language Film Oscar), but "Paris 36" seems to be the work of a veteran film-maker with a lot more experience (I'm amazed to think what he might do when he really DOES have that much experience). Filled with snappy dialogue, memorable characters, moments of both hysterical comedy and meaningful drama, and a sheer love of musical theatre that is nearly unrivaled, this is a worthwhile movie on an amazing number of levels.
There's not a single weak performance in the film, but there are two true stand-outs. The first would have to be Gerard Jugnot as "Pigoil", the man who ran the theatre during its golden days but finds himself beginning to be squeezed out a bit after its re-opening (partially due to its new fascist owners), in a performance that sometimes verges on pathos but never becomes overbearingly sentimental. Then there's also the movie debut of the amazing Nora Arnezeder as "Douce", the very reluctant girlfriend of the theatre's fascist new owner, who the owner forces on the performers as one of their new stars, only to have her turn out to be astonishingly talented, with a voice to rival that of the legendary Edit Piaf. (Oh, yeah... she becomes very reluctant to continue the relationship that got her into the theatre when she falls in love with one of her co-stars.) There's also Jojo, Pigoil's young son... living with his divorced mother but longing to join his father in "the business". I don't know quite why, but it seems that only European film makers are able to handle children with such respect and a complete lack of condescension. This is a group of people you will definitely want to spend time with (yes, even the evil ones).
So, what we have is a story with a lot of political implications, both for its own time and for ours, some of the most memorable characters around, a range of emotional tone that goes from tragedy to farce while always remaining coherent and consistent, and a terrific string of songs, comedy routines and production numbers that fans of classic musicals will remember for a long time. I suppose that technically speaking that can't really be called "something for EVERYONE" (there certainly aren't any vampires lurking around, and there are no cowboys anywhere in sight, just for starters), but it's surprising how close it manages to come.
I saw "Paris 36" on Monday the 9th at a sneak preview at the Edina Theatre (at which both Christophe Barratier and Nora Arnezeder were present... talk about cool!), and I'm not sure when it's going to be opening either in the Twin Cities area (it doesn't open here THIS week) or in other cities. But it's definitely worth watching for it. I'd be very surprised if it ddoesn't amaze you as much as it did me.
posted by Joe Bunce at
8:43 AM
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