Melodious Paris 36 a Rousing Concerto
In a working class district of Paris, 1936 has left the coldness behind as Spring has sprung across the cobblestone streets bringing smiles and winsome hopefulness even as potential war, political change and lack of work ravage the landscape. Three residents of this neighborhood, even-tempered Pigoil (Gérard Jugnot), Milou (Clovis Cornillac) and Jacky (Kad Merad) decide to reopen the local music hall, the Chansonia, a place that has brought happiness and joy to all of them many times in the past.
Kad Merad, Gerard Jugnot and Nora Arnezeder in Sony Pictures Classics' Paris 36
All are approaching this task from decidedly differing perspectives. Pigoil has lost custody of his young son Jojo (Maxence Perrin) and must prove he can hold onto a stable job before he’ll be allowed to know where the boy is, let alone visitation rights. Meanwhile Milou, an unrepentant lothario, is struggling with recent governmental attitudes and sees reopening the theater as the perfect way to shine a light on causes important to his heart. As for Jacky, he just wants to be given the chance to be a star, the former sandwich man just knowing he was destined to stand before a full house roaring in boisterous approval.
They face a bevy of obstacles, not the least of which is the local neighborhood kingpin Galapiat (Bernard-Pierre Donnadieu) watching the every move and pinching all of their pennies. Yet with the help of a surprising old friend who hasn’t stepped foot out his front door in decades, and with the discover of sparkling young ingénue Duce (Nora Arnezeder) things might just work out yet, the trio sure destiny is on their side and a trip to fame and fortune tantalizingly within their grasp.
After a shaky first ten minutes or so, director Christophe Barratier’s Paris 36 becomes a luminous follow up to his 2004 Oscar-nominated tearjerker The Chorus. Recalling past classics like François Truffaut’s The Last Metro and Baz Luhrmann’s Moulin Rouge, the film is a giddy and exuberant musical melodrama that’s as delightful as it is delirious. A rapturous dream of a motion picture, this is the most fun I’ve had at the movies all year, seeing it a divine rapture I can’t wait to experience again.
In other words, I loved it. The film moved me to tears, brought me to cheers and otherwise proved to be an out-and-out spellbinder. Barratier juggles his large cast of eccentrics sensationally, each character given the chance to breathe and evolve taking on a life of their own so distinct and one of a kind I was almost in awe. There’s so much going on, so many differing tangents going this way and that, yet somehow it all comes together with apparent effortlessness, the final moments tinged with so much heartfelt gusto it was almost hard to take.
The performances are simply great all around, but it was Merad and especially newcomer Arnezeder who really took my breath away. For the former, the way he goes into all of his character’s egotistical shades of gray was fantastic, taking Jacky into places of such uncomfortable doubt and duplicitous nastiness I was extremely impressed. But what was even better was how believably he redeemed the wannabe stage performer, bringing him back to our good graces with such ease I didn’t even notice he was doing it.
As for Arnezeder, I’m not entirely sure what there is to say other than, “Wow!” As finds go, she’s a stunner, the multitalented actress a singular sensation I can’t help but think we’re going to be hearing a lot from in the future. Not only does she sing and dance, she creates such a captivating three-dimensional character so invigorating taking your eyes off the lovely young woman is marvelously impossible. She is an instant star, and if I had my druthers (and if I thought voting audiences would actually watch the film) I’d sign her up as a nominee on next year’s Academy Award ballot right this very second.
Other items worth extolling the virtues of? How about Clint Eastwood’s longtime cinematographer Tom Stern’s (Million Dollar Baby, Gran Torino) luminous photography, arguably some of the best work of the guy’s Oscar-winning career. Or how about Jean Rabasse’s (The Dreamers) stunning production design or one-time Munich assistant Jean-Yves Rabier’s sensational art direction? Every thing they put up on the screen oozes authenticity, the look and feel of the film admittedly astounding yet never so much so it took me away from the story’s dramatic center.
All-in-all, Barratier has simply outdone himself. While The Chorus won me over in the end, nothing he did on that one prepared me for his accomplishment here. Featuring winning performances, a thrilling score, melodious musical number by composer Reinhardt Wagner (Asphalt Tango) and lyricist Frank Thomas and a marvelous story that enthralls start to finish, Paris 36 is superb entertainment film lovers are almost guaranteed to cherish.
Film Rating: êêê1/2 (out of 4)
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