Foreign films are not for everyone. Most people don’t scan the selection at Four Star Video Heaven for the most obscure titles around, excited by the prospect of reading subtitles for two hours. And just like the foreign genre, musicals have their own unique audience as well, mostly made up of those who grew up reciting lines from “The Sound of Music” or possibly “Labyrinth.” If you happen to enjoy both the foreign and musical genres, a film such as “Paris 36” is exactly what you have been dreaming of.
Originally titled “Faubourg 36,” “Paris 36” opened internationally in Belgium in 2008 and just debuted at the Sundance Theater in Hilldale Mall. The musical drama is directed and written by Christophe Barratier, creator of “The Chorus.”
The film begins with the protagonist, Pigoil (G?rard Jugnot, “The Red Inn”), being questioned during the investigation of a murder. The film then flashes back to New Years of 1936 in a small working-class town north of Paris known simply as the Faubourg. When the clock strikes midnight, the local music hall, the Chansonia, is shut down. This marks the beginning of an unfortunate year for Pigoil and his fellow workers who face unemployment. The loss is especially tough for Pigoil who, without a steady paycheck, is forced to give up custody of his young son, JoJo (Maxence Perrin, “The Red Notebook”).
The rest of the film follows the attempts of Pigoil and residents of Faubourg to occupy the Chansonia and create the musical they have always dreamed of. While things start off a bit rocky, the mysterious appearance of a beautiful and talented singer named Douce (Nora Arnezeder, “Two Worlds”) gives the amateur venue hope. They face many obstacles along the way, specifically with Galpiat (Bernard-Pierre Donnadieu, TV’s “How Much We Hated Each Other”), a gangster-like villain who controls the Faubourg.
While the community works together, the country is separated by political unrest. A recent election of the Popular Front gives hope to the working class, but also creates extremist groups. Pigoil’s old friend and co-worker, Milou (Clovis Cornillac, “Ca$h”), is a spokesperson for the working people and is determined to change the world through his political philosophy.
While the plot and structure of “Paris 36” is not unique by any means (it follows a structure similar to “Moulin Rouge!,” minus the pop references), it is an exceptional work of foreign cinema that charms audience members with earnest characters and delightful songs. Jugnot, who has worked with Barratier before on “The Chorus,” portrays the character of Pigoil empathetically. Arnezeder’s Douce at times stares off vapidly, but has a captivating voice and endearing look that is captivating all the same. There are no cheesy musical theater numbers and the characters are genuine.
One of the most pleasing aspects of this film has to be the beautiful scenery. Paris in the winter, the countryside drive and the brightly lit stage of the Chansonia all engage the viewer, creating a nostalgic longing for a time when men wore tweed caps and families dressed up to attend the theater. All of the music and colorful schemes make for one pretty film.
While much of “Paris 36” charms the audience, one of the main problems is its tendency to jump genres unpredictably. The film is like a confused teenager experiencing an identity crisis, trying to belong to every genre. Is it a political drama? Just a drama? A musical comedy? A romantic period piece? Although the variety keeps the viewer engaged, it can be overwhelming to have five subplots poorly intertwined.
A lighthearted film, “Paris 36” tells the triumph of the small town and artistic ambition in an effective, enjoyable way. It has charm that resonates with audiences young and old who appreciate the music and style of the ’30s. If you are looking for a delightful pick-me-up on one of these dreary, cool fall days, “Paris 36” is a promising destination.
4 stars out of 5.
