Paris 36

Cue the Accordions: Baguettes, Berets and Léon Blum

There is plenty of evidence to support the argument that French film is alive and well. Recent movies as diverse as “The Class,” “A Christmas Tale,” “The Secret of the Grain” and “La France” might even lead a Francophile cinephile to conclude that a new day of glory has arrived.
And then there is “Paris 36.” This movie, directed by Christophe Barratier (“Les Choristes”), is perhaps not horrendous enough to bring down a proud national cinema all by itself, but it is so shameless in its pandering, sentimental vision of Frenchness as to constitute something of a national embarrassment. [...]

di A. O. Scott, articolo completo (4071 caratteri spazi inclusi) su The New York Times 3 April 2009