Paris 36 [Faubourg 36] (***)

Directed by: Christophe Barratier

Starring: Gérard Jugnot, Clovis Cornillac, Kad Merad, Nora Arnezeder, Bernard-Pierre Donnadieu, Maxence Perrin, Pierre Richard

Seen: 27 June 2010

*** Out of ****

When Pigoil (pronounced “Pigwa”, played by Jugnot) is arrested for murder, the inspector’s first thought is that he doesn’t look like a murderer, which prompts Pigoil to start telling his story. Pigoil, Jacky (Merad) and Milou (Cornillac) are actors/stagehands/etc. at the Chansonia theatre, putting up a New Year show for the start of 1936. As they approach midnight, the owner of the Chansonia is shown in conversation with Galapiat (Donnadieu), a mob boss extorting him out of ownership of the theatre. As 1936 kicks off Galapiat closes the theatre and the actors/stagehands have to find gainful employment, which they find difficult. Pigoil borrows from the local grocer to support his son Jojo (Perrin), who secretly pays the grocer back with money made from begging on the streets with his accordion; Jacky tries all he can to continue acting, even though he is rather terrible; and Milou entices the working force into protest against the fascist movement of the day.

Jacky manages to turn Galapiat’s arm far enough to open the theatre again just as Douce (Arnezeder), the granddaughter of a Chansonia legend (a relation unknown to the troupe), arrives on the scene and is taken in by a supposedly merciful or beloved Galapiat. The group grudgingly make room (as announcer) for Douce, who then turns out to be the only hit in an otherwise terrible show, and when she leaves, everyone loses everything, Pigoil being the biggest loser: his ex-wife claims his son and child services won’t allow him to see Jojo or freely contact him without him being employed.

Then Radio Man (Richard), a man who’s been a hermit for 20 years in his home opposite the theatre hears Douce’s voice on his radio and recognises in it something of the woman he loved in the early days of the Chansonia, a legend in their small theatre world, Douce’s grandmother. He entices her back to the theatre, where the group reunite to produce a hit musical performance, which Galapiat only endures in his theatre because he is in love (obsessively so) with Douce, and the ensuing relationship between Douce and Milou is the catalyst toward tragedy, the reason behind Pigoil’s landing himself in handcuffs.

The movie is endlessly charming in its portrayal of love between father and son, friends, and boyfriend and girlfriend. Gérard Jugnot anchors the movie and wins the sympathy of the viewer; Nora Arnezeder is a treasure as she is really extremely beautiful (in a classical sense) and can sing up a joyous storm, her innocent nature making the viewer fall in love with her almost instantly; Kad Merad must have had a fantastic time acting out the terrible scenes Jacky performs blindly, while Cornillac is the perfect bad-boy turned good as love comes along. The overall feel of this movie is one of heartfelt simplicity, even though the story has many turns. Faubourg 36 is just one more notch in French cinema’s belt of excellence, and if you haven’t seen it you should make the time to do so.