Um Lugar na Platéia

"The question is, what's this all about, and why must we concern ourselves with the 'predicaments' of people who from the looks of it are so singularly fortunate in life?" (Chris Knipp).

Chris Knipp, no offence, hasn't understood the movie's main idea at all. This, in my experience, is what the movie is all about – the separation between "high class" classical music and life. Classical music, as all music, stems from life itself, is inspired and shaped by it. One can see how, exemplified by the pianist, this form of human expression is put in the strait-jacket of so-called "high culture". Said pianist is fortunate indeed to have his talent, but he's hardly able to breathe, to enjoy and live his talents because he's made to put up a show, to dance to the tune of what he himself calls "the system".

Daniele and Christopher Thomspon's light melodrama "Avenue Montaigne" (AKA Fauteuils d'orchestre) paints a wandering portrait of life in Paris' theatre district, centered on a small bistro which brings together stars, writers, directors, musicians, celebrity worshipers, and waiters. Several story arcs involving a variety of somewhat neurotic main characters are woven together around the story of the single character who does not appear to indulge in any particular neuroses - Jessica (Cecile DeFrance), a young woman who has come to Paris in hopes of creating an independent life for herself. Tirelessly hopeful, homeless, and delightful, Jessica's willfulness and charming personality wins her a job as the first female employee of the bistro around which most of the stories evolve.

Here, our heroine meets a brilliant pianist who is sick of the constraints of his own success and is married to a beloved wife who has sacrificed her own career to support his (Lefort - Albert DuPontel); A father and son (the Grumbergs, played by Claude Brasseur and Christopher Thompson) whose strained relationship is complicated by the father's very successful habit of collecting great art; A very high-strung, experienced and intelligent aging actress, who is terrified that her greatest opportunities may lie behind her (Catherine - Valerie Lemercier), and others.

Jessica's elderly and somewhat senile grandmother, who raised her, plays a pivotal, but largely behind-the-scenes role in all of this. In a sense Jessica comes to Paris to allow her grandmother to vicariously live on through Jessica just as much as she does so in order to find her own path.

The stories implied above are very nicely juxtaposed and the overall structure of the film is reminiscent of other excellent French and Italian melodramas. Avenue Montaigne, as most mainstream melodramas do, pays off with resolution, but does not challenge believability (often a problem for modernistic melodrama) and is, like the complex characters it examines, not entirely predictable.

Uplifting, but honest and realistic, the film is very well acted all-around, excellently scripted and nicely directed and edited. I found Ms DeFrance, Valerie Lemercier and Albert Dupontel particularly outstanding. The soundtrack is also quite nicely integrated into the action of the film, sometimes giving the film a sometimes-needed touch of magical fantasy.

Highly recommended for the romance/melodrama crowd. Recommended for others.

I loved this movie! It is light and frothy, sure, but much more absorbing and entertaining than most of these intersecting lives type offerings. It is a slightly preposterous scenario, sure, but as the NZ Herald review said "The film is studded with smart, unshowy performances [...] that make the story's contrived nature virtually unnoticeable". The script doesn't miss a beat and the characters are all immensely appealing, some portrayed with a level of depth you wouldn't expect for the plot. It is funny too. I really think it raises the bar for this genre. Plus who can't fall for all the gorgeous shots of Paris? 100% enjoyment.

As in most of the best French films, not a lot happens and people spend a lot of time talking about their problems but somehow it works. The central character played by Cecile de France is largely a ficelle designed to link together the subplots. Each of these involves an apparently enviable character - someone who's apparently got it made - who isn't as happy as he (or she) should be. The malaises of these rich and glitzy characters turn out to be universal human problems - ageing, family strife, boredom. One of the major themes of the film, beautifully woven through all the subplots, is that we should theorise about life (and art) less and respond to life (and art) in an emotionally direct way. Ergo I shall simply say I enjoyed it, I didn't get a numb behind and I was happier after I came out than when I went in. It's worth the price of admission for the Sidney Pollack restaurant scene alone.

This is today's French commercial cinema by the numbers: gamin plucky young woman character, check. Over the top if beautiful actress, check. Aging, wise woman, check. Well- preserved dotty grandmother in pearls and Hermes scarf, check. Anguished artist with long- suffering wife, check. Sexy young male actor as counterpoint to gamin plucky young actress, check. Lots of shots of Paris with accordion music, check. Recognizable foreign actor in cameo role, check. Gerard Depardieu -- oops, he missed out on this one. Fire his agent!

All that cynicism aside, this is still an enjoyable, frothy film. It is not quite as imaginative as Amelie, but it is better than much of the French cinema that is being churned out these days. The three plot lines are skillfully woven together and the outcome will satisfy all but the most hard-hearted. Now I guess the question will be, who'll play all these characters when the movie is bought by an American studio and rewritten to take place in New York.

There's got to be something in there for Keanu Reeves and Jennifer Garner, non?