Watch Paris 36 For Free

If you don't like this, we can't be friends.

Brilliant and touching

The film makes a home in your brain and the only cure is to see it again.

One of the most extraordinary films you will see this year. Take that as you want.

............................................................from Pasto,Colombia...Via: L.A. CA., CALI, COLOMBIA and ORLANDO, FL Go to the IMDb.com Search-Window and enter the title: "Paris 36" and what do you get?...VOILA! "Faubourg 36"! Therein lies the problem: Apparently, someone set out to make ONE movie...and ended up making a completely DIFFERENT one! This bizarre Paris/Faubourg dichotomy plagues the movie throughout, but particularly during the last half! Paris did, however, get off to a relatively good start...Showing a lot of promise, in a number of different areas: The interaction between lead characters seemed brisk and focused; the sets had a very authentic mid-30's Paris look and feel; Music that had just the right mix of melancholy, nostalgia and pre-war glibness and sung with just the right inflection and ring; plus, different engaging back stories....But it all starts sputtering about half way through. Paris spins out of control and becomes a total mess. Absolutely nothing works! I can't imagine what was going though Writer/Director Christophe Barratier's mind, as he pressed on with this project! As "Paris" progresses, the characters' actions became constantly more erratic, unpredictable and demonstrate a continually escalating degree of incongruity with the personality and motives of each character. Protagonists capriciously waltzed in and out of the movie, with little or no explanation or raison d'etre. Because of this, the last half of "Paris" takes on a deus ex machina tainted storyline much more akin to a fairy tale or the romantic daydreams of a 13 year-old Parisian girl. Maybe Paris would have been much easier to follow in the original French. The sub-titles are shamelessly below par. Only about 50% of the dialog actually appears on screen! Thusly, you end up missing HALF of the film! First Half = 8*, Last Half = 2*...OVERALL: 5*....ENJOY/DISFRUTELA?!?!?Any comments, questions or observations, in English or Español, are most welcome! [email protected]

I voted for 6 because the film was overloaded. Too many characters and subplots - especially those with the French mafia sometimes called "apaches", were somewhat complicated and puzzling - not meaning that some other,especially those with communists and fascists were'not at least somewhat naive and clumsy. I recommend this film because there is very good music inside - type of waltz, nice decoration of the sets with an exact theater of the 30s Belle Epoque. As for the externals, all the way long we see Paris with all those rainy-wet pavements, an eternal snow, always a heavy rain, it's picturesque attics looking to the sky, it's old buildings terraces viewing the Tour Eiffel and as we approach to the end, some scenes luxurious as they are, evoke Paris rich and fancy apartments at the "quartiers chic" as they are called. The scenes of the music-hall are according to the typical tradition of French cabaret, enough satisfying as they recall Lido, Follies Bergeres, Moulin Rouge cabarets. The singing also refers to top french singers - Edith Piaf, Maurice Chevalier, Charles Trenet. A very satisfying role and performance, is of Pigoil's - music-hall manager, son - a young boy who plays the accordion in the streets of Paris trying to earn some money with which buys some sausages as a supper offered to his father's lonely drinking - caused by his wife's cruel abandonment for the music-hall tenor. I think this film to it's whole, was not bad directed, with a nice Parisian atmosphere. It will make you surely spend two relaxing and pleasant hours.

I may have seen one of the last musical hall revivals in London a few years ago on The Strand—it was full of tinny song and dance that made you tap your feet and long for the good old days of vaudeville and innocence. The telly has pretty much killed that simple pleasure, but Paris 36, a melodramatic story of the revival of a Chansonia in northern Paris, 1936, revives the joy of ensemble acting and dancing, original music, and the intrigue so much a part of the lively arts when they become business and pleasure.Three Parisians undertake saving a music hall in their section of Paris called Faubourg using the talents of a star-crossed couple supplying the 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 Moulin Rouge than Amelie. The songs are fetching, made especially for the film, and the plot is pure cliché right down to the lecherous businessman and cute ingénue.The background is unmistakably fascist versus socialist, owners battling workers for a depression-era slim slice of the economic pie and soul. Paris 36 risks it all with formulaic intrigue and predictable denouement. Yet throughout is a good cheer, a bel canto breeziness that draws you in to song, dance, history, and politics, never too heavy, light enough to make you wish that music hall still stood on The Strand.

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