Despite the tragicdimension, Paris, the latest film by Cédric Klapisch,is more comedy than drama. The light and urbane wit is reminiscent of When the Cat’s Away and other bright,upbeat, conversational films by the French director. Aside from the obviousasset of the city itself, Paris boasts a likable cast headed by Juliette Binocheas Pierre’ssister Elise. She is a 40-year-old social worker fretting that her looks, andher life, are through, even though she still turns headswhile bounding along the streets. It’s left to Pierre to be the optimist: “Give chance achance,” he insists. “Your life’s not over.”
Well, gloom iseasily dispelled in the City of Light.Pierre and Elise are just two strands in a web of intersecting plotlines in amovie whose main character is Parisitself, with the metropolis serving as a microcosm of humanity. The problemKlapisch never solves is how to maintain sufficient interest inandunderstanding ofthe plethora of people he introduces. Like many ambitiousmovies with too many main characters, jotting down a running who’s who list ishelpful for keeping track. Some story lines are left undernourished andunderdeveloped.
Among the mostinteresting characters is the history professor Roland (Fabrice Luchini).Worried about remaining relevant, he reluctantly agrees to host a glib televisionseries on Paris,which allows him to wander among actors playing figures from the city’s past.And while lecturing at the Sorbonne, Roland’s eyes fall upon an enchantingyoung student. His old heart starts beating in the lusty rhythm of amour. Thecharacter of the professor cleverly embodies the creative tension between oldand new in Paris,a richly historic city unafraid to embrace the postmodern world.
Opens Dec. 11 at the Downer Theatre.
