Paris 36 (2008) Poster

Paris 36 (2008)

  • Rate: 6.4/10 total 1,463 votes 
  • Genre: Drama | Music | Romance
  • Release Date: 24 September 2008 (Belgium)
  • Runtime: Canada:120 min (Toronto International Film Festival) | Argentina:120 min | USA:120 min
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Paris 36 (2008)


Paris 36 2008tt0948535.jpg poster

  • IMDb page: Paris 36 (2008)
  • Rate: 6.4/10 total 1,463 votes 
  • Genre: Drama | Music | Romance
  • Release Date: 24 September 2008 (Belgium)
  • Runtime: Canada:120 min (Toronto International Film Festival) | Argentina:120 min | USA:120 min
  • Filming Location: Prague Studios, Prague, Czech Republic
  • Gross: $850,575(USA)(21 June 2009)
  • Director: Christophe Barratier
  • Stars: Gérard Jugnot, Clovis Cornillac and Kad Merad
  • Original Music By: Reinhardt Wagner   
  • Soundtrack: Loin de Paname
  • Sound Mix: DTS 70 mm (70 mm print) | Dolby Digital
  • Plot Keyword: Music Hall | Murder | Flashback | New Year's Eve | Love

Writing Credits By:

  • Christophe Barratier (written by)
  • Christophe Barratier (adaptation) &
  • Julien Rappeneau (adaptation)
  • Christophe Barratier (dialogue) &
  • Julien Rappeneau (dialogue)
  • Pierre Philippe (dialogue)
  • Frank Thomas (original idea) &
  • Reinhardt Wagner (original idea) &
  • Jean-Michel Derenne (original idea)

Known Trivia

  • Faubourg is not French for “the district.” It is a contraction of “faux bourg”, French for “false town” and were used to designate smaller towns attached to larger towns or cities. A lot of these faubourgs were independent cities until they were attached to Paris and lost all independence around during the 17th and 18th century. A new outer wall was later erected around the city. These faubourgs, especially those on the East side, were usually white collar, with a very active night life.
  • The old man, Monsieur TSF, who stays in his apartment is named after the original French name for radio: “Telediffusion Sans Fil”, which means “Wireless Broadcasting” in French, abbreviated “TSF”.

Goofs: Factual errors: When Jacky accidentally turns on the radio while Pigoil is talking to his wife and her new lover, the radio is very loud immediately after Jacky flips the switch. On this type of old tube amplified radio, it would take several seconds for the tubes to heat up and amplify any signal, and the volume would go up very slowly.

Plot: A man is charged with murder. He is Pigoil, the aging stage manager at Chansonia, a music hall in a Paris faubourg… See more » |  »

Story: A man is charged with murder. He is Pigoil, the aging stage manager at Chansonia, a music hall in a Paris faubourg. His confession is a long flashback to New Year's Eve, 1935, when he discovers his wife is unfaithful and Galapiat, the local mobster, closes the music hall. Over the next few months, Pigoil loses custody of his beloved son, Jo-Jo, and must find work. Pigoil and his pals take over the Chansonia as a co-op; Galapiat is momentarily benign. Their star is the young Douce, a girl from near Lille for whom Galapiat lusts. She in turn falls in love with Milou, a local Red. There are ups and downs, but mostly ups – but what about Jo-Jo and what about the murder?Written by <>  

FullCast & Crew

Produced By:

  • Romain Le Grand known as associate producer
  • Nicolas Mauvernay known as producer
  • Jacques Perrin known as producer

FullCast & Crew:

  • Gérard Jugnot known as Pigoil
  • Clovis Cornillac known as Milou
  • Kad Merad known as Jacky
  • Nora Arnezeder known as Douce
  • Pierre Richard known as Monsieur TSF
  • Bernard-Pierre Donnadieu known as Galapiat
  • Maxence Perrin known as Jojo
  • François Morel known as Célestin
  • Élisabeth Vitali known as Viviane
  • Christophe Kourotchkine known as Lebeaupin
  • Eric Naggar known as Grevoul
  • Eric Prat known as Commissaire Tortil
  • Julien Courbey known as Mondain
  • Philippe du Janerand known as Triquet
  • Marc Citti known as L'inspecteur du Quai des Orfèvres
  • Christian Bouillette known as Dubrulle
  • Thierry Nenez known as Crouzet
  • Frédéric Papalia known as Clément
  • Stéphane Debac known as L'inspecteur des services sociaux
  • Jean Lescot known as Dorfeuil
  • Daniel Benoin known as Borchard
  • Wilfred Benaïche known as Jeannot
  • Reinhardt Wagner known as Blaise
  • Patrick Ligardes known as Contrôleur 1945
  • Franck Ferrari known as Baryton
  • Gilles San Juan known as Tony Rossignol
  • Manuela Gourary known as La chanteuse réaliste
  • François Jerosme known as Cimique troupier
  • Thierry Liagre known as Patron blanchisserie
  • Paul Chariéras known as Homme blanchisserie
  • Julian Martin known as Adjoint inspecteur
  • Rudolf Pellar known as Vieil homme Chansonia
  • Bohumil Svarc known as Vieil homme à la fenêtre
  • Fedele Papalia known as Policier métro 1
  • Christian Eustache known as Policier métro 2
  • Éric Bouvelle known as Accordéoniste
  • Philippe Scagni known as Chanteur corse
  • Virginie Bordes known as Simone
  • Michel Pilorgé known as Type autocar
  • Violette Barratier known as La fille Lebeaupin
  • Gregoire Clamart known as Voyou (uncredited)
  • Gérard Robert Gratadour known as Technicien théâtre (uncredited)
  • Sophie Knittl known as Madame Célestin (uncredited)
  • Eric Laugérias known as Le comique marseillais (uncredited)
  • Pierre Peyrichout known as Le client ironique (uncredited)



Supporting Department

Makeup Department:
  • Pascale Bouquière known as key makeup artist
  • Mathilde Humeau known as makeup artist
  • Barbara Kichi known as hair stylist
  • Barbara Kichiova known as hair stylist
  • Miguel Santos known as hair stylist
  • Ghislaine Tortereau known as key hair stylist

Art Department:

  • Milan Babik known as buyer
  • Alice Bartosova known as graphic designer
  • Pascal Chevé known as supervisor head plasterer
  • Tomas Cisar known as art department interpreter
  • Jeanne dit Fouque Damien known as graphic designer
  • Thierry Doerflinger known as supervisor plasterer
  • Rouches Frank known as prop buyer
  • Virginie Hernvann known as assistant art director
  • Noémie Juillet known as assistant production designer
  • Noémie Juillet known as assistant set decorator
  • Mathieu Junot known as assistant art director
  • Radan Kapinos known as stand-by props
  • Geraldine Laferte known as assistant set decorator
  • Marie Lambert known as assistant art director
  • Olivia Martin known as maquettiste
  • Lionel Mathis known as assistant art director
  • Thierry Poulet known as assistant art director
  • Gabriela Rezacova known as art department coordinator
  • Samirha Salmi known as assistant art director
  • Pavel Tatar known as assistant art director
  • Jirí Trier known as buyer
  • Christine Vincent-Genod known as assistant art director
  • François Willenz known as digital artist
  • Kristyna Klozarova known as art department interpreter (uncredited)
  • Emmanuelle Roy known as assistant art director (uncredited)




Production Companies:

  • Galatée Films
  • Pathé (co-production)
  • Constantin Film Produktion (co-production)
  • France 2 Cinéma (co-production)
  • France 3 Cinéma (co-production)
  • Logline Studios (co-production)
  • Novo Arturo Films (co-production)
  • Blue Screen Productions (co-production)
  • Canal+ (participation)
  • TPS Star (participation)
  • Banque Populaire Images 6 (in association with)
  • Eurimages (support)
  • Centre National de la Cinématographie (CNC) (support)
  • Procirep (support)
  • Programme MEDIA de la Communauté Européenne (support)

Other Companies:

  • Actions Movies  Stunt Equipment
  • Barrandov Studios  studio facilities provided by
  • CE VideoAssist Rental  VideoAssist equipment provided by
  • CNSO Studios  recording studio
  • Dolby Laboratories  sound mix
  • EXTRAfilms S.r.o.  extras casting
  • Le Vestiaire  costume rental
  • Panavision  camera equipment serviced by
  • Prague Studios  sound stages


  • Alfa Films (2009) (Argentina) (theatrical)
  • Cathay-Keris Films (2009) (Singapore) (theatrical)
  • Constantin Film Verleih (2008) (Germany) (theatrical)
  • Nikkatsu (2009) (Japan) (theatrical)
  • Sony Pictures Classics (2008) (USA) (theatrical)
  • Volga (2009) (Russia) (theatrical)
  • Aurum Producciones (2008) (Spain) (all media)
  • Constantin-Filmverleih (2008) (Austria) (all media)
  • EDKO Film (2010) (Hong Kong) (DVD)
  • Europa Filmes (2009) (Brazil) (all media)
  • Paramount Home Entertainment (2009) (Germany) (DVD)
  • Pathé (2008) (France) (all media)
  • Pathé (2008) (UK) (all media)
  • Quality Films (2008) (Mexico) (all media)
  • SPI International (2009) (Czech Republic) (all media) (subtitled)
  • SPI International (2009) (Slovakia) (all media)
  • Sony Pictures Home Entertainment (2009) (USA) (DVD)
  • Spentzos Films (2008) (Greece) (all media)



Other Stuff

Special Effects:

  • L'Etude et la Supervision des Trucages (L'E.S.T.) (visual effects supervision)
  • Les Versaillais

Visual Effects by:

  • Mathieu Arce known as movematcher
  • Chrystèle Barbarat known as visual effects producer
  • Malica Benjemia known as visual effects producer
  • Nicolas Borens known as compositor
  • Jonathan Carré known as movematcher
  • Bastien Chauvet known as digital compositor: L'EST
  • Florian Chauvet known as visual effects coordinator
  • Christophe Courgeau known as lead matte painter
  • Aurélyen Daudet known as digital compositor
  • Julien Dias known as digital effects artist
  • Berengere Dominguez known as visual effects coordinator
  • Mathieu Flamérion known as research & development software developer: set previsualization
  • Arnaud Fouquet known as visual effects supervisor
  • David François known as digital compositor
  • Christian Guillon known as visual effects producer
  • Michael Havart known as digital matte painter
  • Audrey Kleinclaus known as visual effects producer: L'EST
  • Romain Leclerc known as digital effects artist
  • Benjamin Lenfant known as digital effects artist
  • Sabine Lineres known as digital compositor
  • Julien Meesters known as head of VFX studio
  • Tim Mendler known as movematcher
  • Pierre Michel known as digital effects artist
  • Thomas Mouraille known as matte painter & digital environment artist
  • Hugues Namur known as visual effects supervisor
  • Alice Pépujol known as movematcher
  • Christian Rajaud known as visual effects supervisor
  • Guillaume Thimus known as movematcher
  • Jérémie Touzery known as matte painter
  • Fabien Yorgandjian known as texture artist

Release Date:

  • Canada 6 September 2008 (Toronto International Film Festival)
  • Belgium 24 September 2008
  • France 24 September 2008
  • Greece 26 September 2008 (Athens Film Festival)
  • Greece 6 November 2008
  • Germany 27 November 2008
  • Israel 18 December 2008
  • Portugal 15 January 2009
  • UK 26 January 2009
  • UK 14 February 2009 (Glasgow Film Festival)
  • Argentina 13 March 2009 (Pantalla Pinamar Festival)
  • France 25 March 2009 (DVD premiere)
  • USA 3 April 2009 (limited)
  • Spain 8 April 2009
  • Denmark 22 April 2009 (CPHPIX Festival)
  • Czech Republic 23 April 2009 (European Union Film Festival)
  • Hungary 23 April 2009
  • Australia 30 April 2009
  • Czech Republic 30 April 2009
  • Denmark 22 May 2009
  • Germany 30 May 2009 (DVD premiere)
  • Taiwan 12 June 2009
  • Hong Kong 16 July 2009
  • Finland 17 July 2009
  • Russia 23 July 2009 (limited)
  • Sweden 4 September 2009
  • Japan 5 September 2009
  • Slovakia 10 September 2009
  • Norway 11 September 2009
  • Mexico 16 September 2009 (Tour de Cine Francés en México)
  • Singapore 8 October 2009
  • Mexico 9 October 2009
  • Argentina 5 November 2009
  • Peru 8 April 2010
  • Venezuela 8 April 2011

MPAA: Rated PG-13 for some sexuality and nudity, violence and brief language



Filmography links and data courtesy of The Internet Movie Database

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Posted on March 30, 2012 by Harry in Movies | Tags: , , , .


  1. Gregphilip ( from Paris, France
    30 Mar 2012, 11:31 pm

    Nora Arnezeder reminds me of movie stars of the thirties : beautiful,charming, she can sing, dance, act… Star quality ! As for the filmitself, the story is rather simple, which I come to realize, is oftenwhat makes it good. It's not so much what the story is about but ratherhow you tell it. And in that case, you get to laugh, cry, you careabout that Pigoil who looses his job, his wife and even his son and whodoesn't loose hope, about Milou and Douce's love story. You'll love thegreat new songs, the homage to Busby Berkeley, Jacky's lousy jokes (areprise of Kad's own TV skit) and secondary characters played byfirst-rate comedians like François Morel and the great Pierre Richard.What's not to like ?

  2. ( from United States
    30 Mar 2012, 11:31 pm

    This is not a great film, a masterpiece of cinema-as-art. It is,however, a wonderful movie that will delight you while you watch it andleave you with many happy musical memories after it has finished.

    Though the director and star are the same, this movie does not resembleLes Choristes. It is, instead, an homage to French popular music of the1930s (and 1940s). If you don't know that music and the stars who madeit famous, you'll miss the many references. The movie will still beenjoyable, but it won't evoke the memories (and pleasures) that itwould to French viewers over 60.

    The music, most of it original, nevertheless comes very close topastiche of popular numbers from that era. (One repeated number is veryclose to Messager's "Clou clou," which I think is from his Véronique.)The performances and characters also allude to stars of the past,though not necessarily in a one-on-one way. There is the music hallsinger Tony Rossignol, whose light lyric tenor recalls Tino Rossi,though his Spanish get-up and music recalls Luis Mariano. Kad Merad'scharacter starts out doing terrible impressions, of animals andFernandel. He finally has a hit when he starts singing like CharlesTrenet. Even though the music is pastiche, it is sometimes very catchy,and very much caught me up.

    One of the previous reviewers said that Clovis Cornilliac was made upas Jean Gabin but couldn't reproduce the latter's charisma. I hope hewas not meant to recall Gabin, because he certainly doesn't. He'spleasant in his role, as is the female lead, but the star is definitelyGerard Jugniot, who gives yet another first-rate performance.

    This won't make the viewing list for any course on French cinema, norshould it. But you'll definitely enjoy it.

    P.S. I watched this movie again, about a year after my first viewing ofit. While I still found it enjoyable, I realize, in rereading myreview, that it was the last part, with all the music, that made thestrong impression on me. One of the reviews written since my first onenotes that the movie might have been more memorable if there had beenmore music spread throughout it, and I agree. The show the companyoriginally stages is bad vaudeville, and bad vaudeville numbers haveonly limited appeal. The subplot concerning Galapiat and the Frenchfascists is somehow disconnected from the rest. Having subsequentlyseen that same actor, Bernard-Pierre Donnadieu, in L'affaire Salengro,where he played someone on the other side of that fight, I realize howmuch better the issue could have been presented.

    The film is definitely worth watching, and should please most viewers.Gérard Jugnot gives yet another very fine, very moving performance. Idon't know how well it will repay repeated viewings, however. I don'tknow if I would want to watch it myself a third time.

  3. Chris Knipp from Berkeley, California
    30 Mar 2012, 11:31 pm

    Christophe Barratier found box office success in France in 2004 withhis cute feel-good story The Chorus/Les choristes, which was about howa new music teacher brought humanity to a rural French reform schooljust after WWII by starting a boys' chorus. This also made newcomerJean-Baptiste Maunier into a French teen icon. Faaubourg 36 is aglitzier, more musical (as in song-and-dance), more nostalgic perioddrama meant to evoke French films of the Thirties through its focus ona little working class Paris music hall called Chansonia. As the filmopens, financial problems lead a mean magnate called Galapiat(Bernard-Pierre Donnadieu) to shut Chansonia down. But it's 1936, andin the spirit of socialist fervor (and universal labor-managementstrife) signaled by the rise of Leon Blum's Popular Front, theemployees decide to take over Chansonia and run it themselves, on nomoney. This effort is spearheaded by the stage manager Germain Pigoil(Gerard Jugnot). Pigoil's life has filled with heartbreak. His dancerwife Viviane (Elisabeth Vitali) has left him and the state has chosento take away his beloved accordionist son Jojo (Maxence Perrin) andsend him to live with Viviane.

    Trying to create triumph out of adversity, Pigoil designates an awkwardsong-and-dance guy called Jacky Jacquet (Kad Merad) and a militant (andJewish) leftist called Emile "Milou" Leibovich (Clovis Cornillac) toreopen the shuttered musical theater in uneasy cooperation withGalapiat. The show must go on! This seems a feeble prospect withoutfinancial backing, till the three men get lucky when a young newcomernicknamed Douce (Nora Arnezedzer) turns up at tryouts. She's talented,pretty, and clearly a crowd-pleaser capable of selling tickets andkeeping the place going. Her presence provides further insurance whenthe local boss turns out to like her.

    The ups and downs of the plot include depiction of the pervasiveanti-Semitism of the extreme Right and the exacerbated hostilitiesbetween labor and ownership. There are little tragedies, but everythingis softened and ends happily. Seekers of cinematic edge should lookelsewhere. I found it hard to engage with the story, because it's tooderivative, stereotypical, and diffuse. Production values are excellentand the music hall performances, if sometimes borderline cringe-worthy,carry through the period flavor. And there are some catchy tunes andsprightly stage turns as well.

    I saw this film when it was screened last summer at Saul Zaentz Studiosin Berkeley by Tom Luddy, Co-Director of the Telluride Film Festivaland the consensus of those then present seemed to be that 'Paris 36'(which has been picked up by Sony Pictures Classics) wasn't interestingor unusual enough to show at Telluride.

    But 'Paris 36' seems likely to do well with the more general USsubtitles-film audience, and makes perfect sense as the "gala openingfilm" for the FSLC-UniFrance co-sponsored Rendez-Vous with FrenchCinema–though in my opinion last year's first night presentation,Claude Lelouch's 'Roman de Gare,' made a much more interesting opener.

  4. moore2772 from Atlanta, GA
    30 Mar 2012, 11:31 pm

    I loved it! Boz Luhrmann meets Cinema Paradiso in numerous ways. Theplot is simple, as others here have already described. But it retainsan abundance of charm. The undercurrents of antisemitism and fascismthat were persistent in 1936 France are themes rarely seen on screen.Ditto for the Communist workers' movement during the same time. Theclashes between these two groups were inevitable, and this film depictsthat struggle brilliantly, without preaching to us or hitting us overthe head with it. All the acting, singing and dancing are extremelywell-done, and the cinematography, while Luhrmann-esquire is engaging.Best of all perhaps is the music. This film is destined to be aclassic, and will always be on my favorites list. The only thing Iwould change is that I would retain the original title. The audiencefor this film is sophisticated enough to handle it.

  5. daphne4242 from United Kingdom
    30 Mar 2012, 11:31 pm

    This is a beautiful film which captures much of the feel of greatFrench films of the 1930's. It's also a love poem to Paris. It helpsthat Nora Arnzeder is so gorgeous and all the actors give strongperformances. The story is really a fairy story with a political twist.A small music hall in Paris is forced to close down in 1936. Becausethis is is the year of the Popular front in France, when factoryoccupations spread across the country, the performers decide to takeover the theatre and run it themselves. They get an extraordinarystroke of luck when a young girl, Douce, turns up hoping to get a breakin the theatre. Double luck because not only is she a brilliantperformer but the local boss fancies her and allows the theatre to stayopen. There are some serious themes touched on, including the pervasiveanti-Semitism of the extreme Right at this period but the film isoverwhelmingly joyous, which is as it should be. The Popular Frontdidn't happily, which was a tragedy for France, but this film does, asdo all good fairy tales.

  6. Amy Adler from Toledo, Ohio
    30 Mar 2012, 11:31 pm

    Pigoil (Gerard Jugnot) runs a small vaudeville like theater, theChansonia, in the Faubourg section of Paris. His wife is a "star" ofthe theater and the rest of the performers are a tight-knit group.Perhaps, too close, for Pigoil is given a double whammy one day. First,his wife has been sleeping with not one, but, two of the other troupemembers and, even more sadly, the owner of the building can not pay hisdebts (it is the depression everywhere) and commits suicide. Soon,Pigoil and his young, idolized son Jojo are barely scraping by. But,then, Pigoil makes a deal with the Fascist like gentleman who trulyruns the neighborhood. Can his show group have one month to make thetheater profitable again? The ruthless man agrees to give them achance, for he has his eye on one of their newest performers, abeautiful young singer named Douce. Will the Chansonia becomesuccessful once more? This is an unusual look at life in thedepression, for it has a French setting, where fascism was brewing inneighboring Germany and in France. There are many subplots to the mainone, including one of an agoraphobic music teacher, residing acrossfrom the Chansonia, who was once a leading song writer and who has anunlikely connection to Douce. Needless to say, the recreation of theformer theater district is very fine, as are the costumes, the cast,the story, and the direction. Therefore, if you like foreign films andunusual tales, put this on your list for future viewing. It is a fineexample of quality French cinematic achievements.

  7. John DeSando ( from Columbus, Ohio
    30 Mar 2012, 11:31 pm

    I may have seen one of the last musical hall revivals in London a fewyears ago on The Strand—it was full of tinny song and dance that madeyou tap your feet and long for the good old days of vaudeville andinnocence. The telly has pretty much killed that simple pleasure, butParis 36, a melodramatic story of the revival of a Chansonia innorthern Paris, 1936, revives the joy of ensemble acting and dancing,original music, and the intrigue so much a part of the lively arts whenthey become business and pleasure.

    Three Parisians undertake saving a music hall in their section of Pariscalled Faubourg using the talents of a star-crossed couple supplyingthe on and off stage romance. The intrigue is much less than Cabaret's;the nostalgia is more than Cinema Paradiso's; it's all more MoulinRouge than Amelie. The songs are fetching, made especially for thefilm, and the plot is pure cliché right down to the lecherousbusinessman and cute ingénue.

    The background is unmistakably fascist versus socialist, ownersbattling workers for a depression-era slim slice of the economic pieand soul. Paris 36 risks it all with formulaic intrigue and predictabledenouement. Yet throughout is a good cheer, a bel canto breeziness thatdraws you in to song, dance, history, and politics, never too heavy,light enough to make you wish that music hall still stood on TheStrand.

  8. druid333-2 from United States
    30 Mar 2012, 11:31 pm

    If this film had been produced 60 to 70 years ago,it probably wouldhave been directed by Jean Renoir and starred Jean Gabin as one of thecentral figures. 'Faubourg 36' (or as it is being distributed inEnglish speaking countries as 'Paris 36')is a film that takes place inParis, just before world war 2,when political tensions were at aboiling point between left leaning French & their ultra conservativeright wing counterpoint (which would eventually embrace the Nazi partyin Germany,especially when Hitler marched into Paris in the 1940's). A(failing)theatrical troupe,bent on preserving their beloved theatertries to pull things back together,they get support from some of thelocals (including an alleged Communist,who claims he was in the RedBrigade in Russia),a young lass trying to break into the singingprofession,a (mostly)unfunny comic & enough well meaning persons to tryand bring things together. A corrupt local political figure,who wantsto do little more than bring the ruination of the theater also looms.The film is complimented by a cracker jack cast of French professionalswho turn in a splendid job of acting. The screenplay, althoughsomething of an overstuffed sandwich of sorts,is still well played out.The film features several songs,most of which are performed by thecast,themselves. At times,this film has a Busby Berkley feel to it(which is not a bad thing). In French with English subtitles. RatedPG-13 by the MPAA,this film contains a bit of rude language,somesuggestive material that parents of very young children may notappreciate,and some violence (but nothing too gory that could disturbsome sensitive audiences). Well worth a look.

  9. charlytully from Rosebush
    30 Mar 2012, 11:31 pm

    All of the professional media to which I have access panned PAR1S 36,ostensibly because it was not as glitzy as director Baz Luhrmann's 2001musical, MOULIN ROUGE! (More likely these critics were too lazy to readsubtitles, especially during a musical.) A more apt comparison wouldpair PAR1S 36 with the 1999 Tim Robbins musical, CRADLE WILL ROCK.After all, both movies feature the development of a production duringthe story (from which the movies take their titles), both stories areset in the 1930s, and both feature large casts of theater socialistsfighting against a few powerful fascists (which, in the case of CRADLEWILL ROCK, included a young Nelson Rockefeller personally taking asledgehammer to a Diego Rivera mural in the newly-finished RockefellerCenter, circa 1933). Though I rated CRADLE WILL ROCK and MOULIN ROUGEwith "10's," as far as musicals go, I think PAR1S 36 is involvingenough to merit a solid "8" rating.

  10. krzysiektom from Poland
    30 Mar 2012, 11:31 pm

    A very nice cinematic experience. Everything was top notch – direction,script, acting, singing, scenography and costumes. The film leaves awarm feeling despite presenting many dark sides of life in Fauborg(outskirt of Paris) in the 1930s, like fascism, workers' strikes,unemployment, marital betrayal, loneliness. The director incrediblymanaged to mix pathos and sentimentality with sarcasm and sardonichumor in the same scenes, which prevented the film from being corny.Includes probably the best written funeral scene ever in my opinion.The songs are not remarkable, with one exception – a song about lovewhere the main female character is virtually declaring love to a manfrom the stage. The female is a revelation, talented and beautifulyoung actress with good singing voice. I will gladly watch the filmagain.

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