Young talent and imagery not enough to keep 'Paris' afloat

    The Paris neighborhood of Faubourg in "Paris 36" (2009) is one that American audiences know well. Similar to the setting of "Amélie" (2001), it's a slightly tamer version of the romanticized, magical-reality location from "Moulin Rouge" (2001). Unfortunately, despite its setting, "Paris 36" blends conventional plot devices and all-too-familiar characters to create an entirely bland film.
    When the curtains of the Chansonia vaudeville theater are set to fall for the last time, stage manager Pigoil (played by Gérard Jugnot) and his friends are determined not to give up the place where they earn a living and have found so much happiness. Pigoil is at the center of a battle with Monsieur Galapiat (Bernard-Pierre Donnadieu), the evil, wealthy politician who bought the theater property and refuses to back down from his decision to close it. In his personal life, Pigoil also faces hardship. Custody of his son, Jojo (Maxence Perrin), has been relinquished to his wife who recently left him because he lacks a steady source of income. Pigoil, however, enlists his buddies Jacky (Kad Merad) and Milou (Clovis Cornillac), and together they set out to reclaim the Chansonia by occupying the theater and proving to Galapiat that they can produce something profitable.
    Prospects are bleak until a young woman, Douce (Nora Arnezeder), performs for the first time on the empty stage with commanding presence and flair. Douce's charm and sweet-tempered nature are evident from the start (and even obvious in her name). As the film continues, a love triangle develops and more conflict occurs between the Chansonia owners and Pigoil's group. All of this drama is glossed over through song, dance and comedy.
    Unfortunately, whatever potential the plot of "Paris 36" has is lost in overly contrived and predictable attempts to move the story along. It doesn't help that the movie's characters lack substance and may give audiences a feeling of déjà vu, as they are so familiar that they seem to have been taken directly from other films. Only the actors' talent keeps the characters interesting.
    Yet "Paris 36" does make for an interesting comparison to the real world. While the small neighborhood of pre-World War II France depicted in the film could be described as dreamlike, the struggle of Faubourg's desperate residents to stay afloat is very timely considering past and present economic turmoil. That said, the film's social and historical relevance is greatly overshadowed by its over-the-top, colorful, saccharine production values, its cinematography and its fast-paced editing. The lush sequences of "Paris 36" and its impressive opening (a two-minute crane shot descending from the sky into the theater) were executed by none other than Tom Stern, Clint Eastwood's preferred cinematographer.
    The film's near-flawless technical aspects only draw greater attention to the cast. Jugnot, who worked with writer/director Christophe Barratier on "Les Choristes" (2004), gives just as good a performance in this film, but the character, Pigoil, is not very memorable. Nonetheless, Jugnot is fortunate to be among great company, especially that of newcomer Nora Arnezeder.
    It is rare to watch a movie for the first time and see the birth of a star. But, from the moment Douce enters the Chansonia, it's clear that this adorable, 19-year-old actress is here to stay. And, as her character begins to open up and mature as a performer, her transformation is similar to Marion Cotillard's portrayal of Edith Piaf in "La Vie En Rose" (2007).
    Barratier was inspired to write "Paris 36" after hearing some records from the 1930s era, and he sought out Reinhardt Wagner and Frank Thomas to helm the film's musical numbers. Most of the cast manages to sing fairly well. The few songs performed, including the great sequence inspired by Busby Berkeley's films, provide relief from the movie's otherwise heavy plot, and it's a shame it doesn't include more.
    "Paris 36" tries very hard to be a lot of different things. It floats between being a comedy, drama, musical and the community-getting-together-to-do-something-important genre, but never settles on one. Aside from finding Arnezeder at an open casting call and its superb cinematography, the film is far from a home run for Barratier.