Essentially a pastiche, as musty as a flea market.
Paris 36 (2008)
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Reviews Counted:16
Fresh:6
Rotten:10
Average Rating:4.8/10
Consensus: Sweet and light, this homage to French vaudeville -- and Francophilia in general -- is pretty, but its air of nostalgia occasionally borders on the saccharine.
Rated: PG-13 [See Full Rating] for some sexuality and nudity, violence and brief language.
Runtime: 2 hrs
Genre: Comedies
Theatrical Release:Apr 3, 2009 Limited
Box Office: $812,429
Synopsis:
Spring 1936 - in a working-class district in the north of Paris, a neighborhood that probably had a name once but that everyone now simply calls the Faubourg. At the top of the hill, a view over...
Spring 1936 - in a working-class district in the north of Paris, a neighborhood that probably had a name once but that everyone now simply calls the Faubourg. At the top of the hill, a view over Paris to one side and, to the other, the burgeoning suburbs of the city. A small square, a few shops, lopsided buildings, cobbled streets and the peeling façade of the neighborhood music hall, the Chansonia.
In this blue-collar neighborhood, the triumphant election of the Popular Front government is greeted with enthusiasm and hopes for a brighter tomorrow, yet stirs up all kinds of extremism. Among the new government's promises, the famous law on paid holidays that will allow numerous workers to see the sea for the first time.
In early May, three inhabitants of the Faubourg, show-business workers and close friends, do not share other people's wild hopes, the Chansonia, the music hall that employed them, closed down four months earlier, leaving them all unemployed.
Pigoil (Gérard Jugnot), a stage-hand, thirty years with the Chansonia.
Without a job, he could lose custody of his 12-year-old son, JOJO (Maxence Perrin)and have to give up his plans to take him to see the sea.
MILOU (Clovis Cornillac), a hotheaded electrician and a skirt-chaser. Symbol of the "workers aristocracy," spokesman for every kind of demand, he is determinded to "change the world."
JACKY (Kad Merad), former sandwich man at the Chansonia. After carrying aroundthe names of stars on his sandwich board for years, Jacky has started dreamingthat he will be the king of the music hall himself one day. Convinced that he has a talent for imitation, he continually seeks engagements that he never finds.
Supported by the locals who live to the rhythm of Monsieur TSF's (Pierre Richard) radio, the three friends decide to take hold of their destiny: they try to force the hand of fate by occupying the Chansonia and producing the "hit" musical that will allow them to buy the place. Each one of them has different motives but they all share the same goal: finding new balance in their lives.
In addition to their lack of experience, they have to deal with the hostile antagonism of the neighborhood "godfather", Galpiat (Bernard-Pierre Donnadieu), and come to terms with the arrival of a mysterious and attractive young singer, Douce (Nora arnezeder).
The dream of a whole neighborhood, can the Chansonia "rise from its ashes" in this joyous month of June?
--© Sony Pictures Classics
Starring: Gerard Jugnot, Nora Arnezeder, Clovis Cornillac, Bernard-Pierre Donnadieu
Starring: Gerard Jugnot, Nora Arnezeder, Clovis Cornillac, Bernard-Pierre Donnadieu, Kad Merad, Pierre Richard, Maxence Perrin, Francois Morel, Elisabeth Vitali, Eric Prat
Director: Christophe Barratier
Director: Christophe Barratier
Story: Frank Thomas, Jean-Michel Derenne, Reinhardt Wagner
Producer: Jacques Perrin, Nicolas Mauvernay
Composer: Reinhardt Wagner
Studio: Sony Pictures Classics
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Release:
Aug 11, 2009
Reviews for Paris 36
Paris 36 is a handsomely made French musical that never really soars.
The nicest that can be said of this unapologetically schmaltzy, and not unenjoyable, affair is that it is the best 1936 musical made in 2009.
It's an overstuffed homage to a bygone style of show business rather than a vigorous piece of entertainment on its own.
Somehow its value is never communicated to the audience in a felt way. Or maybe that's simply the crucial aspect of Paris 36 that didn't make it safely across the Atlantic.
In the clumsy hands of Barratier, whose last film, The Chorus, irked many as maudlin, Paris 36 becomes a mostly pointless exercise in nostalgia.
The movie otherwise lacks a certain energy, advances somewhat creakily through its plot and contains mostly obligatory surprises. Still, it's pleasant and amusing.
An irresistible and impeccable period musical set against the political and economic turmoil of France in the mid-'30s.
A shamelessly melodramatic series of romantic, financial and political crises embroil a rundown music hall in Paris 36, a gleaming hunk of French period schmaltz expertly rendered by director Christophe Barratier.
Though unabashedly sentimental, Christophe Barratier's old-fashioned musical is so eager to please, even cynics may be seduced.
Mr. Barratier, in trying to evoke the great French films of the 1930s and ’40s, mistakes their elegant clarity for simple-mindedness and treats his material and his audience with condescension.
The 'spicy' numbers have no dazzle, the actors mug like contestants in a Maurice Chevalier impersonation contest, and the plot is a drily indigestible wad of show-must-go-on preciousness and socialist sentimentality.
Assault by relentless accordion-playing, Paris 36 proves that sometimes, imitation is the highest form of flatulence.
My tolerance for French kitsch is low and French accordion music lower, so that I stayed in my seat bodes well for the film’s commercial prospects.
A bracingly old-fashioned, lushly visualized showbiz meller set against pre-World War II Gallic political unrest.
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