Salada Russa em Paris

This was a wonderful little film that truly was creative and fun--something you see all too seldom in movies. The film begins in Russia just after the fall of the Communist government. As a result, society seems to be in chaos and life has yet to improve now that the old regime is gone. Dirty cities, crime and lack of housing still plague the poor residents of St. Petersburg.

Into this scene of bleakness and uncertainty comes an idealistic music teacher. He is among those without a home and he FINALLY gets a letter from the government that tells him he has a tiny room in a nearby flat. When he arrives, the place is a mess but the people seem friendly enough so they all have a lovely party. In the middle of the night, they are awakened by an old lady walking out of the giant wardrobe in the room (I was half expecting Lucy and the other kids from THE LION, THE WITCH AND THE WARDROBE to come out, but they didn't). They are too shocked to do anything at first but decide soon to investigate. Instead of just being a clothes closet, the wardrobe opens into Paris! How the residents of the flat respond to this magical gateway is really intriguing. Some, like the music teacher, are thrilled and in awe. Most of the others are more pragmatic and are mostly concerned with looting everything from Paris before the gateway closes once and for all! These Russian thieves are awful people--greedy, coarse and crude but down deep---VERY DEEP--are hearts of gold. I like how this is a metaphor for the nation now on the brink of Capitalism. At first, they run amok grabbing everything they can and only later do they reveal some depth--but mostly they act much like guests on THE JERRY SPRINGER SHOW! The film has many twists and turns and is both funny and mesmerizing. About the only negative is that due to some harsh language and a nude scene (albeit, a very funny one), this is not a film for kids. This is a real shame, as with some very minor editing, this could have been a great family film.

One unfortunate reality of post-Soviet Russia was that the people's welfare didn't change much from Soviet times. As we see in "Window to Paris", most people are still as depressed as ever, while they are encouraged to go after money.

Then, everything changes for music teacher Nikolai Chizhov (Sergei Dontsov) after he finds a window that leads to Paris. He and his friends are naturally quite amazed at what they find. This movie has one of the funniest discussions of Elvis Presley and Edith Piaf that I've ever heard. So watch this movie. You're sure to love it. It's sort of a precursor to "Being John Malkovich".

I saw this movie in a Russian cinema class, and I knew I would like it as soon as the kids started dancing. The whole thing is very funny - although it has a quirky sense of humor different from what most of us are used to - and if you're willing to take the premise with a grain of salt, you are in for a treat.

Another thing - if you were turned off by the trailer or the premise, don't give up on it. I wouldn't have watched the movie except that it was for class. I'm very glad I did, and I recommend it to anyone who is interested in Russia, foreign films, something completely different, or simply a good story. And if you like "Window to Paris," I also highly recommend "Black Cat, White Cat," (Kusturica) another excellent quirky Eastern European (Serbia) comedy.

My first Mamin film, saw it on IFC long ago, and LOVED it. It seemed absolutely artistic, original, fun and hilarious. Not a moment in the film let me down or made me bored, and i was laughing a lot or had a smile on my face. I mean this movie is truly funny. But here's the catch: it's also very artistic and creative - if you don't know Yuri Mamin (probably, sadly, because so many of his GREAT films aren't available here) he has a very original style like no one else's, and for me this isn't even my favorite film of his (right now it's the insane ("Saideburns/Bakenbardy"). Also, i have to say as a Russian, this film is great because you really do see what Russians are like. And this is possible because this is a true Russian film to me, NOT a foreign film trying to be American or trying to appeal; Mamin did not sell out (nor has he since, Gorko (1998) was as good if not better. This is true Russian style filmaking that came out of communist Social realism.

If you liked this film, i think you have a very high chance of loving Mamin's other films, in fact i like quite a few of them more than this one. I guess this one is his most accessible film. A similar film is Fountain, taking place 6 years before during perestroika, it has the same actor in the leading role, and more of Mamin's regulars who you will recognize from Window to Paris; this one has one supernatural twist in the end but is mostly a realistic comedy, a great one. Viva Mamin, hopefully Criterion will hook all of his movies up one day, he's still working, and his catalog is so great! See any of his films if you can.

This Russian and French film was made just around the time the Soviet Union was ending and chaotically giving way to a capitalist Russia, and that's reflected over every inch of it. There's a cute premise -- a down-on-his-luck music teacher moves into a new apartment and discovers a literal window to Paris that literally only opens every twenty years.

This leads to some very fun, absurd comedy with Russians and French finding their way through the window and becoming very confused -- as well as a great deal of very self-conscious social commentary on the state of Russia at the time. This leads to some interesting contrasts, with the farcical often set against scenes of unhappy people on filthy streets. This contrast doesn't always sit easily, and i doesn't always increase the humor of what's going on but it does always leave an impression. Perhaps most striking is when Nicole finds herself suddenly in Leningrad/St Petersburg, and after some plain-old-hijinx, is confronted with the difficult-to-process sight of a man completely destroying a public phone booth just because nobody will stop him.

There's a delicate balance, and sometimes it sways far enough into commentary that the humor stops being sharp, or far enough into comedy that the commentary seems out of tune, but overall they are both strong veins that make their mark on the viewer.

Sergey Dontsov is great as a very likable hero for the piece, a shaggy, hard-luck music teacher who scorns the establishment but gets by because he is a pied-piper figure for children. Agnès Soral is very charming as Nicole, but while she works very amusingly as a running-gag neighbor who is constantly infuriated by Russian running through her apartment to get to Paris, she is not really developed enough as a character to make a great impact as a love interest.

But because of the charm of Dontsov and his rapport with the children, there is an emotional pull when he convinces them to come back to St Petersburg through the window. And the film winds up very difficult to forget, for its rather wild combination of the whimsical and the grim.