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Faubourg 36
Our review
Christophe Barratier’s new film is not what you would have expected from him after the enormous box-office success of the Chorus (Les Choristes).
I interviewed Christophe when the Chorus came out in the UK and
already, he was working on Paris 36. Interestingly enough, he got the
songs/music before he came up with the story. He was then still under
the shock of this unexpected success. Although his new film ticks some
of the boxes that the Chorus also ticked: great music, feel good movie,
brilliant actors, great story,... PARIS 36, however, never seems to
take off in the’ring true’ register, too clean, too perfect, too
Disneyland. Is it because the film was mostly filmed in Prague? Prague
is an amazing city and also a very cheap place to film as opposed to
London or Paris but this certainly did not help achieve the objective.
The film story is based in the ‘faubourg’ one of the poorest areas of
Paris, and the time is 1936. For those of you who don’t know, 1936 was
a truly historical year in France. It is the year that through a
general strike (What’s new? the French are always on strike for
something), during what was called the Popular Front, workers
successfully obtained certain rights such as a 2-week paid holiday
entitlement, the 40-hour week and the right to have their union
representatives. Whilst all this is happening, a small burlesque
theatre is closing its doors and the people who work there are about to
embark on a journey that will help them salvage their lives.
Christophe Barratier cleverly weaves the plot and manages to open a
window on a period which sees both the winning of basic rights and the
rise of fascism. This period of optimism is, as we know going, to be
short lived.
If some of you have seen the Chorus, you will recognise a number of
actors who once again have joined the cast. Gerard Jugnot (Clement
Mathieu), Kad Merad (Chabert), Maxence Perrin (Pepinot) and some
newcomers. But what you will most remember no doubt is probably the
beautiful and very talented young actress Nora Arnezeder who makes her
debut in this film. She was only seventeen when she was picked by
Barratier out of three thousand hopefuls. She says that she thought she
would only get a small part but this was not to be the case. She was
offered ‘Douce’ one of the main parts, one where she was going to have
to sing and act. And gosh can she sing. Of course, Barratier has proven
to be very good in the past at picking new comers with brilliant
potential. One cannot forget Jean-Baptsite Meunier in the role of
Morhange who became overnight an international star. Similarly to Nora,
he also had the looks and the voice. Clovis Cornillac who is especially
famous for his part as Asterix in Asterix aux Jeux Olympiques and as
Benoit Notre-Dame in a Very Long Engagement is the union representative
who falls madly in love with her. However, in this instance, he
reminded me intensely of Serge Reggiani in les Miserables, the version
with Jean Gabin.
Some could say that Barratier has tried to put too much in this film
and as a result only managed be superficial in his undertaking. The
film may have done relatively well in France but this might be due to
the fact that he is still riding on the back of the Chorus.
What is certain is that he has tried to create a Barratier style of
getting people to realise that by working together things can change.
As for the Chorus, there is a clear message of hope.
A ‘feel good’ film for those who think that French cinema is only good at making you miserable.
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