Customer Reviews

Fauteuils d'Orchestre

5 star:		(6)
4 star:		(11)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

Jessica (gamin-like Cecile de France from "The Spanish Apartment) arrives in Paris without a sou in her pocket but within minutes nabs a prime waitress job in a smart, stylish, up to this point type of café that only hires men as waiters, Restaurant on the Avenue Montaigne, close to the Champs Elysee' with the Eiffel Tower looming nearby.
Though "Avenue Montaigne" ("Fauteuils D'orchestre" in France or "Orchestra Seats") is very fairy tale-like, there is actually a very good reason for Jessica's hiring: the restaurant is short of help and the very next night three major events are taking place nearby: a big auction selling off the contents of an entire apartment filled with names like Braque, Brancusi and Modigliani belonging to an art collector played by the legendary Claude Brasseur, a major piano recital featuring virtuoso pianist Jean-François Lefort (Albert Dupontel) and the opening of a Feydeau farce starring TV Soap star, (actress Catherine Versen played by Valérie Lemercier) looking to land a prime Motion Picture about Simone de Beauvoir. Jessica swirls in and out of every one of these stories having a positive effect on all with her sunny sweetness and disarming honesty. There are definitely shades of "Amelie" and "Emma" at work here. "Avenue Montaigne" is as slight and light as a Crepe and de France, Brasseur and Lemercier hit all the right notes, acting-wise which sounds a lot easier than it is as the genre of light comedy is pretty much dead today and these actors are remarkably spot on here.
No one in the world makes this kind of film as well as the French and director Daniele Thompson is definitely up to the task: her film exudes warmth and a charismatic charm that is damn near impossible to resist.

(3 1/2 *'s) `Avenue Montaigne' operates on the premise that all Parisians seek the good life. Offering a cross-section of the French dream, the film digs deeper with a "can't buy me happiness" theme stretching through intersecting lives.

Jessica (Ce'cile De France) is a high-life wanna-be who takes care of her grandmother in a nursing home. The elder reminisces that she took menial labor to enjoy vicariously the high art, food, and fashion of Paris. Emulating her grandmother, Jessica seeks a job at a café where they deliver, but will only break tradition of hiring waiters when they're in a bind. As a vivacious courier and waitress she meets the people who allegedly have fulfilled their dreams.

There's Catherine (Val'erie Lemercier), a prima donna actress who isn't satisfied with the lucrative contracts she's offered. In order to achieve a high level of art, she stumbles over tables and chairs for a chance to court Sydney Pollack (cameo, himself), looking for a lead in his film. (Some of her foot-in-mouth tendencies make for some of the funniest moments.) Jean-Francois Laforte (Albert Dupontel) is a celebrated pianist who has all the amenities and filled concert halls, but his real desire is to enrich the uninitiated. His wife is his manager who can see only the material benefits of her gifted husband. Jacques, an elder art dealer wishes to sell out his collection before interest is lost, but his teacher son, Frederic (Christopher Thompson), is too idealistic. He's divorced and must watch his widower father flaunt his attractive new mistress while discovering the siren is predictably only interested in his father's money. Then, there's an elder woman who, having no musical talent of her own, is a purveyor of others' talents. She relishes the music. The movie displays great irony, for Jessica and the music purveyor, although outside of the circle of the affluent talent, seem oddly more satisfied than the successful people they admire.

`Avenue Montaigne' may not be as substantive or profound as French movies like 'L'Enfant' or 'Ponette,' but it is easily likable with characters who are accessible and make empathetic connections with the audience. Warmly engaging, sometimes funny, but often wise, this movie is a heartwarming alternative to a boulevard of broken dreams. The effect of the movie is like creme brule,' sweet, light, but very satisfying.

Note: French with English subtitles.

Synopsis: Jessica (Cecile de France) leaves her home in the provinces and moves to Paris in the hope of finding a better life. Fortune smiles on her when she lands a job as a waitress in a cafe located in a high rent district frequented by the rich and artistic. As she interacts with the café's patrons their hopes and dreams are revealed. Jessica and the audience eventually discover that the rewards that come with talent and possessions doesn't necessarily bring fulfillment in life.

Critique: Released in '06 the film `Avenue Montaigne' is an undiscovered gem that can be watched over and over again, each time revealing some new and beautiful facet of a profoundly simple but elegant tale. Moving subtly from comedy, to romance, to drama the film shines a light into the heart and soul of its characters revealing not only the persona on the outside but the longing within. The acting is superb, the storyline and dialogue illuminating and the Paris backdrop is absolutely beautiful. Add to that a nostalgic soundtrack that captures the Parisian spirit to perfection and you have a film that you'll never tire of viewing. One of my favorite French films!

My Rating: -5 Stars-.

If you're looking for serious drama then you're in the wrong place. I would describe AVENUE MONTAIGNE as a "fun" movie. In many ways it reminded me of THE SPANISH APARTMENT (or L'AUBERGE ESPAGNOLE): both consisted of a bunch of colorful characters, who are trying to find their way in this crazy world of ours. It should be no surprise that Cecile France was in both films. She has a way of connecting with other actors on screen. She was a delight. Other notable actors in AVENUE were the "soap" actress, the pianist and the auctioner's son. If you just want to see a movie for just strictly entertainment value, then I highly recommend AVENUE MONTAIGNE.

A woman goes to Paris and takes a job just in the right intersection of three different worlds signed by the efervescencent universe of art. An old man who decides to sell all his artistic collection, a succesful actress who would love to perform as Simone de Beauvior in a film next to start and finally a pianist tired of being succesful, who would enjoy to play for single people far from the crowding world.

Slow but progressively, she will enter and turn around inside the affective existence of these people and will become a fundamental part in the rest of their lives.

A lovable and engrossing romantic comedy that will engage you from start to finish. Don't miss it!

"Avenue Montaigne" aka "Fauteuils d'orchestre" or "Orchestra Seats" is the second movie directed by Daniéle Thompson and written by her and her son Christopher Thompson that I have seen. I like her work very much and look forward to see her Jet Lag (2002), another romantic comedy or rather light drama with Juliette Binoche and Jean Réno.

Few months ago I saw my first Thompson's movie, "La Bûche" (1999), the stories of three sisters, the Parisians with the sweet Russian names, Sonya (Emmanuelle Béart), Lyuba (Sabine Azémaand), and Milla (Charlotte Gainsbourg), and their parents who have been divorced for 25 years but still have a lot to say to each other. I was charmed by the clever, funny, touching and poignant Christmas dramedy in Paris. I expected to like "Avenue Montaigne" as much as La Bûche and I was not disappointed. The story of a young provincial girl Jessica, a waitress at the legendary café which has been frequented by the rich, famous, and talented for many years is linked with the stories of an actress, a piano player and an art collector. All three are successful, wealthy, talented, and...unhappy. Jacques, an art collector is determined to sell the priceless pieces he and his late wife had collected for 30 years. Jean-François (Albert Dupontel), internationally renowned concert pianist is suffocating in the life where every day is scheduled for many years ahead by his wife, who is also his manager. He adores music and he is madly in love with his wife whom he may lose if he quits his career. Valerie Lemercier as Catherine steels the film as the hugely popular and wealthy TV star who dreams of playing in the Art movies. Her scene with the American film director, Sobinski (Sidney Pollack) who came to Paris looking for an actress in his biopic about Simone de Beauvoir and Jean-Paul Sartre elevates the nice stylish comedy to the higher level. Lemercie was incredibly passionate, riveting, and yes, sexy when she gave Sobinski her vision of the celebrated author, philosopher, feminist, who was a muse and inspiration, friend and lover to some of the most brilliant men from the last century. I would run, not just walk to see the movie about Simone de Beauvoir with Lemercie as Simone.

Set in always captivating Paris, filled with the thoroughly chosen soundtrack that features Beethoven's Finale de la sonate 'La Tempête' ( my favorite Beethoven's sonata), "Consolation N°3 en ré bémol majeur" composed by Franz Liszt, and the songs of such French singing legends as Gilbert Bécaud, Juliette Gréco, and Charles Aznavour, the latest Danièle Thompson's film is a charm and delight. Daughter of director Gérard Oury who had made one the best and funniest French comedies, "Grande vadrouille, La (1966) ... aka Don't Look Now - We're Being Shot at" has inherited her father's talent and I will be waiting for her every new movie.

I write to comment on one, almost infinitesimally small moment in this film. Before moving on to that matter of my quirky attention, let me agree with others here: This is a delightful, high-energy, candy-colored film. The Cécile de France character is the living embodiment of "gamine." She is the guileless and infectiously life-affirming pixie who carries this film on her slight shoulders.

Now to my real point here...I, who know nothing much about acting, have often heard actors speak of "courage" in their craft. I have imagined two different dimensions that this "courage" might have: Most prosaically, it might mean simply to act with "bold strokes" in an effort to capture something striking in a character's outward manner, an accent, for example. The "courage" here would be the risk of ridicule if the accent were not convincing. IMO, that would not be any special courage but merely the everyday risk that comes with the job (although a few actors -- Robert Redford might be an example -- are able to be successful just playing themselves).

The big risk in acting, it seems to me, is the risk of being ~too~ good in portraying something unattractive. Sometimes, when an actor is really convincing, it is impossible to believe that what one is seeing does not authentically belong to that person, to the actor him or herself. And, in fact, I think that it often does. The "courage" is the willingness to bring out that authentic -- but suppressed -- ugly part of oneself and use it on the stage.

I am thinking of a mere ten seconds in Avenue Montaigne and a bit from one of the very minor players. At 00:22:51, a young woman who is a flunky assistant for the director in the story notices Cécile watching a rehearsal from the back of the theatre. Cécile should have delivered a restaurant tray and then departed. The young assistant, who is excessively confident of her lowly niche in the theatre's pecking order, goes back to chase away this lowly, interloping, restaurant girl. The "courage" I am celebrating is the obnoxious, stylishly-bullying way that she dismisses Cécile and turns to walk away. IMO, nobody who has not been, at some point in his life, excessively proud of her niche and had -- whether only felt internally or actually expressed -- a dismissive attitude toward someone a notch or two lower in the pecking order, could possibly be so utterly convincing in how she blew off Cécile. It is as though it has to be a moment that has been played before, or at least rehearsed in the persons internal dialogue. And it is not a pretty vision of one's insides to share with the world (although a commonplace of nasty, human ambition).

To make just one further comment on the movie in general, I think that this ten seconds of subtly exquisite craft is indicative of the quality of this film throughout.

Avenue Montaigne is one of those movies that might be considered "schmaltzy" by some. Improbable, to be sure; and had it not been set in Paris, it might not have worked for me. But I found it to be a charming, feel good story with actors who carried their roles lightly and well, and with a great sound track.

Fauteuils d'orchestre is a 2006 French film written and directed by Danièle Thompson (Jet Lag, La Buche, Cousin, cousine) and co-scripted with her son, Christopher Thompson. The sentimental film was released in the United States as Avenue Montaigne and in the United Kingdom as Orchestra Seats. It tells the story of Jessica (Cécile de France), who has moved from from Burgundy to Paris to embark on a new life, inspired by her grandmother, Madame Roux (Suzanne Flon), who "always loved luxury." Despite the fact that the café has always only hired male waiters, Jessica lands a job waitressing in a chic café, the Bar des Théâtres, located on the fabled Avenue Montaigne in an upscale, artistic area of Paris near the Théâtre des Champs-Élysées and a concert hall. (For those unfamiliar with Paris, when it comes to art, music, theater, designer clothing and haute couture, the avenue Montaigne is considered one of the most important thoroughfares in France, and is now more even important than rue du Faubourg Saint Honoré.) While working at the café, Jessica meets a number of people who have all devoted their lives to their art, including a popular, though neurotic, TV soap opera actress Catherine (Valérie Lemercier), an American film director Brian Sobinski (Sydney Pollack) and his wife Valentine (Laura Morante), a world-renowned pianist Jean-François (Albert Dupontel), and an art collector Jacques (Claude Brasseur). This is a smart, French feel-good movie that will appeal to Francophiles and those who love ensemble movies in the genre of Love Actually. I love French cinema, but at times while watching this film I felt like I was instead watching an expensive Paris Chamber of Commerce ad designed to lure older, upscale Americans to the City of Lights.

G. Merritt

AVENUE MONTAIGNE (AKA Fauteuils d'Orchestre, or Orchestra Seats) works on many levels. As directed and written (with her son Christopher Thompson who also acts in the film) by Danièle Thompson the story is about need, expectations, disappointments and the opening of new doors. It is sweet, tender, beautifully acted and delivers Paris to the viewer on a dream-like encounter.

Jessica (Cécile De France) lives in Mâcon, France with her aging grandmother Madame Roux (veteran actress Suzanne Flon in her last appearance in film): they share a desire - loving luxury - but both are poor in money and rich in spirit. Jessica decides to move to Paris to find good fortune. She has no money and no place to live so she finally finds a job as a waitress in bar next on Avenue Montaigne that caters to the surrounding theaters and the wealthy inhabitants of the area. Not being the requisite 'male waiter' her attention is paid to the people of luxury around her. She meets a famous pianist (Jean-François Lefort) who is married to his manager Valentine (Laura Morante) and their life of luxury is tainted by the pianist's tiring of the superficiality of his career, a famous actress Caterine Versen (Valérie Lemercier) who makes money on TV soaps and struggles with Feydeau stage productions but really would chuck it all to star in a film about Simone de Beauvoir and Sartre directed by the famous Brian Sobinsky (Sydney Pollack), and a great art collector Jacques Grumberg (Claude Brasseur) who is auctioning off his entire art collection to the pleasure of his new young girlfriend Valérie (Annelise Hesme) but to the disappointment of his son Professor Frédéric Grumberg (Christopher Thompson) , and is present in the retirement days of the theater manager Dani (Claudie). Jessica proves to be the catalyst for change in each of these people's lives and fulfills her dream of providing luxury by obtaining an orchestra seat for her grandmother at the pianist's farewell formal concert.

Though the plot may sound complex it all spins out in meaningful ways that manage to tie the multiple stories together because of the presence of Jessica. The cinematography by Jean-Marc Fabre sparkles as doe the musical score by Nicola Piovani (with a great assist from Beethoven!). It is a bit of French froth with a message and a pure delight to watch - over and over. Grady Harp, December 10