Set in the faubourg, or suburbs, of 1936, Paris 36 revolves around the efforts of three working-class men to revive the Chansonia, a faded music hall once the buzzing centre of a blue-collar neighbourhood. Woven into this narrative are a collage of sub-plots that dip into different characters’ personal stories and motives, as well as darker, antagonistic forces such as the oppressive Popular Front government and sinister mob leader Galpiat (Bernard-Pierre Donnadieu).

The multiplicity of Barratier’s vision in his characters and storylines seems to make for a rich, colourful film that extends beyond formulaic Hollywood musical movies.Uunfortunately Paris 36 feels scattered and ends up being predictable. The political backdrop doesn’t play out as threateningly as it could, and the musical rise and fall of the Chansonia also stops short of fully engaging the viewer. Similarly, one’s attempts to be emotionally invested in the characters – who are indeed likeable and sympathetic – are frustratingly thwarted by the choppy sequence of scenes.

To be sure, the film is still pleasant and enjoyable. Paris is shown in all its romantic splendour in a rooftop scene and the original musical score is beautifully incorporated. Core protagonists all put out solid performances, with Gérard Jugnot taking centre stage as the poignant Pigoil, whose custody of his young son JoJo (Maxence Perrin) depends on the Chansonia’s success. Nora Arnezeder also carries an emotional story in her role as Douce, the burgeoning singer. It’s a shame that the charm of the characters and era only create a rough sketch of what Paris 36 could potentially be. Victoria Wang