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Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up "Paris je t'aime," the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient.
Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic.
With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world.
Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget "The Da Vinci Code" -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi.
An offbeat sense of humor is established from the opening story, subtitled "Montmartre," in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend.
Then a lovely young woman (Florence Muller) faints beside his car. It's Paris.
Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy.
The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
CD 1
CD 2
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