Parigi

The movie is mostly made of vignettes following several characters, loosely interconnected in the city of Paris. Sounds familiar. To be honest, I've grown tired of the many dramas borrowing that formula. It's become an epidemic, especially since Magnolia. And so, I did not expect to enjoy Paris all that much. But I loved it and it moved me by its stripped down, sincere approach.

Director and writer Cédric Klapisch, unlike several of his contemporaries, did not feel the need to employ convoluted means to link these characters, or end the movie on some sort of unifying, highly artificial bang. Klapish wisely elects to concentrate on building strong characters. He succeeds, so much so that it becomes easy for him to create simple, believable story lines for them. The real link between them? They are fallible, restless, tentative, longing... in other words, they are human.

There's a large cast here and Klepish mostly concentrates on a few of them. Many of the smaller parts are actually as intriguing as the bigger roles and I caught myself wondering what would happen to those characters. But Klapisch stays the course and ends the movie much like it began. A lot is left unresolved, much like life. No Hollywood ending here but I could certainly have followed those characters for another hour if need be.

A beautiful, stripped down story but enough subtext and genuine quality to make for a great and lasting movie experience.

No one, but no one, makes movies that better capture a sense of place than Cedric Klapisch. Since the miraculous little When the Cat's Away (Chacun Cherche son Chat, 1996) he's consistently been able to evoke a real sense of lived lives and inhabited city spaces. Wonderful then, to discover that after all the travels of The Spanish Apartment (2002) and Russian Dolls (2005) he's returned to Paris to make one of the best films ever made of those little universes within the City of Light. That said if you know nothing about France or its history and culture you just won't get it!

The hook on which this multidimensional movie hangs is Pierre (Klapisch favorite, Romain Duris), a professional dancer who's justlearned that his heart is failing. A transplant may save him, maybe not. All this has echoes of the great Agnes Varda film, Cleo de 5 a 7 (1962), where Cleo, a young singer played by Corinne Marchand, also gets a frightening diagnosis and she too, walks the streets of the city facing her own death. Maybe Paris (the film) achieves even more as a kind of aubade or farewell to the dance of life that ceaselessly crosses Paris (the city) in time and in space.

The centre of the film is Pierre's sister Élise (Juliette Binoche in her most relaxed and charming performance in years). Elise moves in with Pierre (along with her children!) to help out and her own little adventures as she shops at the local market opens out the film as we discover the complex and many layered live of the market workers, especially glum Jean (Albert Dupontel) and his soon to be ex wife Caroline (Julie Ferrier).

Another story thread follows terminally bored history professor, Roland Verneuil (Fabrice Luchini) embarking on a new career as a TV pundit: these scenes are beautifully satirical yet also curiously touching.

Among the many delights of the movie is a great dream scene where Roland's brother, architect Philippe Verneuil (François Cluzet) is plunged into the 3D Universe used to sell off one of his middle class housing Projects and floats like a tormented Mario Brother from some gleaming modernist disaster to rapturous potential buyers and back again. This delicious scene goes on just long bought to make more than a few silly dreams of home improvement (let alone all those fantastical TV Reality shows) seem, as they are, utterly absurd , yet also quite nightmarish in their silly faith in problem solving by buying stuff. For this alone the movie's worth the price of admission!

Interwoven, too, is the story of the anxious young Benoit in Cameroon, adrift and about to try to join his Paris based émigré family in that most dangerous of ways, the open boat from Africa to Europe. All French life, it seems, is touched upon, not least the political morass facing governments as they grapple with the problem of the poor and dispossessed out in the projects. The music track is equally complex, with that old favorite (since Truffaut used it in Shoot the Piano Player almost fifty years ago!) Erik Satie's Gymnopedie Number 1 again weaving its extraordinary spell! You just have to be there!

Klapisch has done something marvelous here, a film full of ideas and humanity, yet one that somehow enables us to engage with and care for so many complex characters without ever having to resort to stereotypes. It's a great achievement – and a glorious movie about that city to which we must all return in our dreams: Paris.

Being a Parisian myself, and a great fan of all other Klapisch movies, I expected a lot about this one. Well, I was pretty satisfied: although it is no masterpiece, the global atmosphere, and especially the gorgeous views of the city are very well put together. The actors are very convincing too, especially Juliette Binoche, radiant, Luchini, a surprisingly good dancer, and Albert Dupontel. It is just a pity that there are so many simultaneous stories, some of them don't really bring much to the plot and could have been cut, to leave more time to the others.

Anyway, I recommend this movie for all people who want to get a feel for what Paris is all about!

I was really looking forward to see this film for different reasons: The trailer made it look really heart filling, Juliet Binoche and basically because I love French cinema. So I finally got to do so, but man was I disappointed.

It wasn't utterly bad, but basically, for me, it just didn't grab me at any point. Everything and everyone (Each character) seemed so dry, so inexpressive, things would happen and they'd all be like "OH... o.k" and at moments they even seemed to contradict them self's. I don't know, I've seen lots of movies where each characters story is intertwined and some are good, some suck.

I've seen it in American, Italian, French, German and even Spanish cinema, so that kind of story telling is not unique in it self anymore and because of that, it's harder to do it, and I think that in this case, seeing how non of the stories needed the other to exist, none of them really coexisted as one and there fore there was no reason to tell them all in the same piece, well it simply wasn't the best of movies, again it doesn't utterly suck, it just isn't as good as it could have been.

To day I went to see "Paris" and hoped to win a trip to Paris from Sydney out of it! I had seen L'auberge espagnole and had no idea of the link! To top this, by accident I caught a french movie on TV to night perhaps already running for 10 minutes and it was Russian Dolls! Again I did not realise it was related, even called a Sequel to l'auberge espagnole! I enjoyed the 3 movies each on their own way. "Paris", my birth city, I did enjoy immensely, yet I could have imagine its story in any other city. Although it was nice to catch up with sites I have not seen for 25 years and left nearly 40 years ago, but to me it was very much this cocktail of people and their personal situation that moved me so much. Just like everyday life with its humor, sadness and pain all this with a comfortable music that actually did ease a little the pain. Again I thank those who write so well here and gave a concise and very interesting account of this wonderful film. I think one of these writings should appear with the main page of the film rather than tentative account like mine. Bu if by chance you are reading mine I'd like to let you know that if you go to see this movie, just go with the flow and you should not be disappointed.