THE NEWS & OBSERVER
MAY 8, 2009
Cast: Gerard Jugn
Clovis Corhiliac, Kad
Merad.NoraArnezeder,<>Pierre Richard, Maxence Perrin, Bernard->Pierre Donnadieu. <> Director: Christophe Barratier>
Length: 2 hours
Web site; www.sonypic-
Rating: PG-13 (brief nudity
and sexual situations)
Cary: Galaxy. Raleigh: Colony;
Chapel Hill: Chelsea.
this movie bad!
There is plenty of evidence to support the argument that French film is alive and well. Recent movies as diverse as "The Class," "A Christmas Tale," "The Secret of the Grain" and "La France" might even lead a Francophile cinephile to conclude that a new day of glory has arrived.
<>And then there.is "Paris 36." This movie, directed by Christophe Banatier ("LesChoristes"), is perhaps not horrendous enough to bring down a proud national cinema all by itself, but it is so shameless in its pandering sentimental vision of Frenchness as to constitute something of a national embarrassment. Filmed on a set whose fanciful evocation, of a Parisian faubourg makes "Moulin Rouge!"
Its overstuffed, preening tracking shots take in baguettes, berets and tricolor bunting, accompanied by the incessant squawking of accordions. Most of the men sport droopy mustaches atop even droopier lips, and they smoke and sip vin rouge and speak sighingly of love and politics. Why look, it's the Eiffel Tower! And there it is again! Remarkably, no one kisses his fingertips and exclaims "Sacre bleu!" or "Magnifique!," but I'd bet you euros to croissants that such a moment was left somewhere on the Pathe cutting-room floor.<>
Certainly one can't dislike Pigoil (Gerard Jugnot), who in the opening scenes loses almost everything: his backstage job at the Chansonia music hall; his wife, who runs off with a fellow performer; and then his beloved son, an accordion prodigy named Jojo (Maxence Perrin), who is taken from Pigoil's custody by heartless bureaucrats.
And how can you resist Pigoil's pal Jacky (Kad Merad), who fancies himself "the prince of impressionists"? Or Milou (Clovis Corriillac), a stagehand, labor agitator and ladies' man? Somehow it's possible. "Paris 36" hustles through a busy hive of plots and subplots, most of them surrounding the efforts of Pigoil and his buddies to revive the moribund Chansonia. Also to rescue it — and a comely chanteuse called Douce (Nora Arnezeder)— from the clutches of the neighborhood's chief gangster (Bernard-Pierre Donnadieu).
Threaded through it all are vintage-style French songs (by Reinhardt Wagner and Frank Thom-as) to go with the vintage clothes the vintage cars and the vintage politics. (The muted vintage of the film comes from Tom Stem the cinematographer who has given Clint Eastwood's films their burnished, somber tones) It should all be more fun than itis. But Barratier, in trying to evoke the great French films of the 1930s and '40s, mistakes their elegant clarity for simplemindedness and treats his material and his audience with condescension. He wants us to think about the bad old times and the good old movies, but he's hopelessly mixed up. The times were, in many ways, much worse than“Paris 36" lets on. But the movies were rarely this bad.