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| A Monster in Paris | |
|---|---|
French release poster
| |
| Directed by | Bibo Bergeron |
| Screenplay by |
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| Story by | Bibo Bergeron |
| Produced by | Luc Besson |
| Starring |
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| Edited by |
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| Music by | Matthieu Chedid |
Production | |
| Distributed by | EuropaCorp Distribution |
Release date |
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Running time | 90 minutes[1] |
| Country | France |
| Language | French |
| Budget | $32 million[2] |
| Box office | $26.6 million[3] |
A Monster in Paris (French: Un monstre à Paris) is a 2011 French animated musical comedy science fantasy adventure film directed by Bibo Bergeron, and based on a story he wrote. It was produced by Luc Besson, written by Bergeron and Stéphane Kazandjian, and distributed by EuropaCorp Distribution, and features the voices of Sean Lennon, Vanessa Paradis, Adam Goldberg, Danny Huston, Madeline Zima, Matthew Géczy, Jay Harrington, Catherine O'Hara, and Bob Balaban. Many plot elements are drawn from Gaston Leroux's novel The Phantom of the Opera. It was released on 12 October 2011. It was also produced by Bibo Films, France 3 Cinéma, Walking The Dog, uFilm, uFund, Canal+, France Télévisions, CinéCinéma, Le Tax Shelter du Gouvernement Fédéral de Belgique and Umedia. Its music was composed by Matthieu Chedid, Sean Lennon and Patrice Renson.
In 1910 Paris, in the midst of the Great Flood, shy projectionist Emile Petit travels with his friend Raoul to the Botanical Gardens to make a delivery. In the absence of the Professor who works there, the place is guarded by his assistant, a proboscis monkey named Charles. Raoul experiments with two potions, one named "Atomize-a-Tune" (which gives operatic singing voices to whoever it's used on) and the other "Super Fertilizer" (which causes plants to temporarily grow to enormous sizes). An explosion occurs after the two chemicals mix, and Emile glimpses a monstrous creature which escapes the laboratory and appears to terrorise the citygoers.
Meanwhile, Lucille, a cabaret singer at the club L'Oiseau Rare and Raoul's childhood friend, is pushed by her aunt Carlotta to marry wealthy Police Commissioner Victor Maynott, who's making a campaign for mayor. After numerous sightings of the creature, Maynott fronts an investigation launched by his second-in-command, Pâté. One night, Lucille encounters the creature and is at first terrified, but discovers it is actually an enlarged flea - launched from Charles' fur - with a euphonious singing voice. Lucille dubs the creature『Francœur』and lets him live in her dressing room.
Maynott learns of Emile and Raoul's involvement in the laboratory explosion, but disregards it and awards them the Medal of Honor. They both get seats at Lucille's next show, where she and a disguised Francœur sing as a duet. After the show, Lucille accidentally reveals the identity of Francœur to Emile and Raoul, who attend a conference the next day where Maynott announces that he plans to find and kill the monster. After Francœur is nearly revealed when Albert, a waiter at the L'Oiseau Rare, tips Maynott off to his whereabouts, Lucille plans to have Francœur feign his death in a ceremony the following day.
The plan goes awry, and Maynott chases Francœur and his friends through the streets of the city. The chase culminates in a battle at the Eiffel Tower; a gunshot from Maynott and Francœur's sudden disappearance lead everyone to believe that Francœur has been killed. Maynott is placed under arrest by Pâté on the basis that Francœur is innocent and following orders from Interior Minister who's not happy with Maynott's mania. Later that evening, Lucille discovers that Francœur is alive and has returned to his natural size. The Professor returns to the laboratory and restores Francœur to human size with a new mixture. Francœur takes second billing on posters advertising Lucille's show, while Lucille and Raoul become a couple after clearing up a misunderstanding from their childhood.
In a post credit scene, Francœur, Emile, Lucille, and Raoul are shown stopping the flood by dropping sunflower seeds which have been enhanced with super fertilizer, consuming large amounts of water and growing to large size.
In another post credit scene, Albert and a street thief are shown in a cell, badly singing much to Maynott's horror.
| Character | French | English |
|---|---|---|
| Francœur | Matthieu Chedid (as -M-) | Sean Lennon |
| Lucille | Vanessa Paradis | |
| Raoul | Gad Elmaleh | Adam Goldberg |
| Victor Maynott | François Cluzet | Danny Huston |
| Maud | Ludivine Sagnier | Madeline Zima |
| Madame Carlotta | Julie Ferrier | Catherine O'Hara |
| Albert | Bruno Salomone | Matthew Géczy |
| Emile | Sébastien Desjours | Jay Harrington |
| Inspector Pâté | Philippe Peythieu | Bob Balaban |
Director Bibo Bergeron conceived the project for A Monster in Paris in 1993, when he created his own studio, Bibo Films , which produced television series and advertising films; but he only really launched the project in 2005, towards the end of his stay in the United States, where he worked for DreamWorks Animation from 1997 to 2005.[4] Bergeron wanted to make a film halfway between big American productions and arthouse films, and wanted to make it in France using his company Bibo Films.[4] The first element of the movie decided was the setting; Paris, in the beginning of the 20th century, for which Bergeron gathered abundant documentation. Very early on, he had in mind the principle of a film close to a musical, as well as the concept of the central character, a monster with a big heart.[4] Bergeron wrote alone a first synopsis of the scenario in August 2005, then he reworked it with Stéphane Kazandjian and together reached the first usable version of the scenario in the summer of 2006.[4] In October 2005, Bergeron contacted singer Matthieu Chedid to compose the music for the film; Chedid came into contact with Vanessa Paradis shortly after, and the two artists worked together on the composition and recording of the soundtrack.[4]
Soon after, visual aspects of the film were worked on for a year and a half.[4] Bergeron says he was mainly influenced by Franquin the graphics of the characters, and draws his inspiration from impressionist painters like Alfred Sisley for the color moods and decorations.[5] The appearance and gestures of the monster and the singer Lucille are respectively inspired by those of Matthieu Chedid and Vanessa Paradis, who lend them their voices in the French dubbing.[5] The visual design of a touching monster turns out to be tricky. Its final appearance is the result of contributions from several members of the team: its grasshopper appearance was an idea from a designer on the team, while Bibo Bergeron had the idea of taking inspiration from the cabaret singer's costume. Aristide Bruant for the disguise Lucille made for him.[5]
The search for financing for the film is being done at the same time. The budget of A Monster in Paris , 28 million euros, is very large for a French production, and therefore proves difficult to complete.[4] Bergeron even had to put the project on hold for nine months because he struggled to raise funds; he is fortunately advantaged by his past experience at DreamWorks.[4] Production of the film was finally launched at the beginning of 2009, and lasted until the end August 2010.[4] A Monster in Paris is the third most expensive French film produced in 2010.[citation needed]
In order to meet the requirements of co-producer EuropaCorp, the English voices are recorded before the animation itself, which makes the film easier to sell in Anglo-Saxon countries; Bibo Bergeron supervised the choice of voice actors and recording took place in Los Angeles.[4] The French voices are recorded once the film is finished.[4] Vanessa Paradis is the only actress to provide both the English and French voices.
The animation takes place in an animation studio created in Montreuil by Bibo Films for the needs of the project; it mobilizes a team of 140 people.[4] The storyboard is the subject of several versions; once fixed, it is then rigorously respected during editing, which avoids having to cut completed scenes.[4] For computer-generated image animation, animators use XSI software supplemented by plugins created for the needs of the film.[4]
The film is distributed by EuropaCorp.[4]
The soundtrack includes both songs and short clips from the film, in both French and English. The soundtrack of the English version was released in the UK a few days after the film's release on both CD and digital download. The album is credited to Vanessa Paradis & (-M-)
The opinions of press critics are on average quite favorable, and range from mediocre to excellent: consultedAugust 2014, the AlloCiné site gives A Monster in Paris an average rating of 3.4 on a scale of 5, based on eighteen press titles, only one of which (the daily 20 minutes) gives it a 5, while six give it a 5. give a score of 4 and ten a score of 3.[6]
Among the best reviews is that of the free daily 20 minutes, which sees the film as a "little gem of poetry full of charm and songs" , whose critic praises the "fanciful universe steeped in humor and originality".[7]InLe Figaroscope , Emmanuèle Frois provides a very favorable review, where she appreciates the originality of the story, the pure moment of poetry created by the music of -M- and the successful duo formed by Matthieu Chedid and Vanessa Paradis ; she only regrets the small number of these songs.[8]InLa Croix, Corinne Renou-Nativel gives a very positive review, where she appreciates the visual universe of the film, the "chiseled" dialogues and the story "without downtime" ; she concludes by indicating that "the notes of humor, the freshness of the images, the captivating duo formed by -M- and Vanessa Paradis, the poetry which surrounds everything make this film a nice meeting for adults and children.[9]
In the television supplement of the weekly Le Nouvel Observateur (TéléCinéObs), Xavier Leherpeur gives the film two stars out of four: he considers it "brimming with visual discoveries, humor and poetry" , and appreciates its universe and the music, but judges the final sequence "less grandiose than it could (and should) have been".[10] In the daily Le Monde, Thomas Sotinel judges the story "strange and not very coherent" and believes that the film suffers from its lack of resources compared to big productions from American studios like DreamWorks ; he concedes to the film a capacity to awaken the spectator's "appetite for the marvelous" , but regrets that this appetite is often frustrated.[11]
Among the most skeptical critics, Florence Colombani, in Le Point , recognizes in Bibo Bergeron "a real aesthetic sense" (which she particularly appreciates in the opening sequence of the film) and praises the "humanist message [of the film] towards the youngest" ; but she finds the story "a little thin" and judges that ultimately "the film lacks the dramatic structure to completely hold the viewer".[12] The critic from Ouest France , who gives the film two stars out of four, sees in the scenario "yet another variation on a somewhat worn-out theme" and regrets that the film concedes too much to Hollywood conventions, without sufficiently developing the French touch of the story, so that the result is judged "too wise and too [restrained] in its formatting" ; the article however appreciates the quality of the original soundtrack.[13]
In Britain, where the film was released late January 2012, A Monster in Paris received a fairly good reception in the press. On Rotten Tomatoes, it received an aggregate score of 87% based on 23 reviews (20 "fresh" and 3 "rotten").[14] Favorable reviews credit the film with its graphics and successful songs as well as the poetry and originality of its script. Peter Bradshaw's review in the Guardian,[15] gave the film three stars out of five, and stated: "the film has something of Hugo's The Hunchback of Notre Dame , and also of King Kong , but it has a style eccentric of its own: a suitable children's film. Unfavorable criticism generally focuses on the weaknesses of the scenario, considered chaotic or too conventional.
