Children of Paradise (1946)

So much average

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

While it doesn't offer any answers, it both thrills and makes you think.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

"Children of Paradise" would be an extraordinary achievement, even if it didn't break records in production. For one thing, it came out of nazi occupied France; the film saw fascist sympathisers working alongside French resistance operatives on screen. However, we don't require this historical footnote to understand the French film's legacy.It was the most expensive movie made in France up to that point, and one can really see the money up there on screen. The movie appears to have been shot on enormous sets. The effect of this is twofold; not only do we envision ourselves as standing among the characters in 1820s Paris, the design is ornate enough to produce an element of dreamlike whimsy, too.This is an extraordinary filmic achievement, and "Les enfants du paradis" perhaps offers an experience like no other. How they could create a living, breathing world, and yet still not stop you from appreciating the staging of it; how they could allow you to get lost in the "Boulevard of Crime", and then recognize their characters amongst the teeming masses.You may wonder, then, why I didn't give "Les enfants du paradis" a higher rating. The answer is, I'm afraid, that my modern-day attention span was just too taxed by the film; my attention seriously waned during the second half. I was impressed by the way the actors did not vanish amongst the labyrinthine sets; rather they seem perfectly at home there. I was less impressed by my general lack of interest in the story.

Shot during the German-occupation of France, Children Of Paradise is a film where its historical context feeds into its point and purpose. While on-screen it featured aristocrats concerned with love, on set the crew were hiding from the Nazis and concerned with their next meal. It's a surprise that their anxiety didn't transfer over onto the otherwise leisurely film. It's unusually long, especially as it's in two parts where the first ends rather anti-climatically. But its images are beautifully textured, especially in its simple but adventurous shooting. However, although the network of characters is great, I was never too invested in the protagonist or the theme. Instead, it's all about its lush bittersweet tone and that's exactly how its theme is treated. It's a good film to watch in reference to those it inspired.8/10

There is no doubt that French cinema includes many of the world's finest, most influential and iconic films. From fantasy to neo-realism, historical epic to kitchen sink drama, and with arguably the most important cinematic New Wave to add to its canon, French masterpieces can be found in almost every genre imaginable; indeed, in many cases, they have helped to distinguish between them.'Les Enfants du Paradis' is considered the finest product of the partnership between director Marcel Carné and writer Jacques Prévert. At over three hours, and split into two parts, the film follows a handful of colourful characters through the 1820s and 30s in that fascinating, mystical city: Paris. The focus is on the Parisian theatre – a place of hypocrisy, deception, exaggerated emotion, corrosive artificiality, cheap tricks and crude laughs. With an astonishing attention to detail, and displaying a perfect mastery of his medium, Carné exposes with scorching wit the superficiality of society and the damaging effect it has had on his characters. There is a fine line between fantasy and reality, and the characters, sometimes without even knowing it, deceive themselves and the others around them. In a film with so many grand themes, its tragedy lies in its profound exploration of love, and what happens when genuine emotion attempts to shine through in a world of romantic, sentimental lies, cruel falsehoods, deluded pride and vicious crime.Much of the brilliance of this film I cannot divulge in my review. I admit, that aside from its considerable critical acclaim, I knew nothing about it when I bought my ticket. That is the way it should be seen: let its delicious melodrama, breathtaking sets, classy cinematography, dry comedy and poignant tragedy wash over you. Long it may be, but the time flies by; very rarely have I been taken on as deep and enjoyable a ride as this one – and how refreshing that is, considering that those two adjectives seldom gel when talking about cinema. Even more impressive is that with so many characters, story lines and themes at play, the movie never once feels rushed or convoluted: its pacing is pitch perfect, and its artistic vision - impeccable; the denouement is abrupt and delivers a memorable emotional punch to the gut.This is a timeless film for all tastes: those who like a great plot, a compelling love story, lavish costumes, profound thematic material, passion and grand emotion, an insight into a different culture or a different time and place – this has everything, encompassing all of life – from the most pitifully poor to the most disgustingly rich. I personally cannot wait to see it again, and the newly restored version released recently by the BFI is definitely the way to go if you have the intention of watching it – the print, much like the film, is a joy to behold, almost doing full justice to the amazing cinematography (courtesy of Marc Fossard and Roger Hubert) and the delightful technical and stylistic flourishes found within it.I am not exaggerating when I say that this may well be one of the finest films ever made. It could be studied and analysed until the cows come home, but as is often the case for many truly great films, there is nothing quite like seeing it for the first time and just enjoying it for what it is, not feeling the need to try and analyse because you have complete confidence in the filmmaker and are utterly captivated by the story he is telling you. It was made over sixty years ago now, but it could have been released yesterday for the first time. It feels as fresh and exciting as ever - and that, for me, is the sign of a film to cherish!

An epic investigation of the blurred lines between life and the performance space, Les Enfants du Paradis is almost surmised within its first shot. Garance earns a dubious living allowing men to come and look at her naked. Yet the men can't quite see her - she sits in a barrel of water. All the while she looks at herself - her face - in a mirror. This unmediated self-examination whilst being risqué but not absolutely honest with others is examined across a handful of characters, beginning with a blind beggar who is not blind and finishing with an entire population adopting the character of one individual.It is also the nature of art - that in order to examine people one must take recourse to what might seem an unnatural technique. This is clear in the acting and mime of the two stages of the neighbouring theatres and underlined in the persistent transgression of the fourth wall. Most clearly and simply the two celebrated actors cover their faces with paint-as-mask to achieve greatness - white for the mime, black for Otello.The performances are powerful, if mannered for the time, with the exception of Arletty as Garance who manages to be arch and seductive but warm, haughty and fragile all at the same time, an unrepeatable modern performance. Though long, the film feels like it ought to be longer. 7/10