Faubourg 36 (Paris 36)

A film set in the 30′s in France, Faubourg 36, or Paris 36, feels like a film actually made in the 30′s. The costumes and the outdoor sets have a contrived artificiality to them, the whole town seems within arm’s reach, and the quality of the shots are more often than not reassuringly melodramatic, in a way we’ve come to love, reminiscent of Casablanca, of a bygone era. The whole film has an endearing quality, with plenty of highs and lows, only enhanced by being a kind of musical (though it never really feels too much like one). Great songs (one receiving an Oscar nomination), nice voices, a very likable cast, and an enjoyable story make this one a success.

In 1936, the Chansonia, a theatre in Parisian district goes under (“faubourg” means “suburb” in French). All jobs are lost: the cast, the crew, everyone involved. A shrewd, dictatorial businessman, Galapiat takes over, and the theatre is shut down. As claims of Fascism and threats of strikes hit the airwaves and the streets, one man, Pigoil, decides to lead the old clan in taking back the Chansonia, leading them on an unending quest to restore themselves and the theatre to greatness.

Pigoil is quick-tempered, impetuous, selfish, and mostly very ignorant. His only redeeming qualities are his best: he’s sincere, and he means well. When Douce shows up, the theatre has found its savior. At least temporarily. Through a series of events, Pigoil, Milous, Jacky, and the rest have their work cut out for them, if they want to get the theatre, and their lives, back on track.

Christophe Barratier directs this musical film, and he does so with aplomb. He seems to attempt to recreate the quality of the Hollywood melodramas from the Golden Age: larger than life personalities, smoking in profile on rooftops, the Eiffel Tower in the distance, and all while confessing ones love to the new girl in town, only to be followed up by a song and dance number. It may sound overly sentimental or even kitschy, but Barratier seems fully aware of what he’s doing at all times, and as a result, the film is truly delightful.

Taking the black and whites from classic Hollywood as its starting (and continual reference) point, Paris 36 ultimately succeeds by creating a cast of charming characters whose lives have taken a turn for the worse. The winsome world of the characters is set against the backdrop of a volatile political environment, adding to the tension of the characters constant frustrations. In the end, we have a feeling for what might happen, but we don’t exactly know how we’ll get there, and in this one, style is really what it’s all about.

Rating: 3.5/4 Stars