In my review of Christophe Barratier's epic period musical Paris 36, I discuss what an annoyingly inoffensive and non-committal pastiche this film about unions, fascism, socialism and democracy manages to be. The details of period set and costumes in its nameless 1936 Parisian neighborhood (rather clearly Montmartre) present a stylized vision of the past, something between the polish of Ratatouille and the Technicolor excess of Les parapluis de Cherbourg. All Paris 36's prettiness can't distract from the cliched story and its masculinist politics, whose grand aspirations seem inspired by Citizen Kane and Cradle Will Rock, but don't have the self-awareness to even compare. Read the rest of my review here.
Paris 36
In my review of Christophe Barratier's epic period musical Paris 36, I discuss what an annoyingly inoffensive and non-committal pastiche this film about unions, fascism, socialism and democracy manages to be. The details of period set and costumes in its nameless 1936 Parisian neighborhood (rather clearly Montmartre) present a stylized vision of the past, something between the polish of Ratatouille and the Technicolor excess of Les parapluis de Cherbourg. All Paris 36's prettiness can't distract from the cliched story and its masculinist politics, whose grand aspirations seem inspired by Citizen Kane and Cradle Will Rock, but don't have the self-awareness to even compare. Read the rest of my review here.
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