A blue-white-red work, anchored in a typically Parisian universe. After the resounding success of Ten percentthe creative team of the French series returns with an ambitious new fiction. This Wednesday, November 27, That’s Paris! makes its debut on France 2. Directed by Marc Fitoussi, this six-episode production mixes drama and humor at the heart of a legendary cabaret, “Le Tout-Paris”.
Carried by Alex Lutz in the lead role, alongside Charlotte de Turckheim and Nicolas Maury, the show is distinguished by an exceptional cast, enriched by renowned guests, such as Monica Bellucci and Line Renaud.
A cabaret in danger, a rebirth at stake
The story begins with Gaspard Berthille (Alex Lutz), heir to a Parisian cabaret in decline. In debt and overwhelmed, he decides to sell the establishment to a supermarket chain, to the great dismay of his team. However, faced with the imminent collapse of this place full of memories, he decides to take on a crazy challenge: to set up a new magazine capable of restoring the former glory of All-Paris.
Helped by a flamboyant artistic director (Nicolas Maury) and a colorful troupe, Gaspard will have to overcome rivalries, disillusionment and financial obstacles to revive the magic of feathers and sequins.
What the critics say
Unlike Ten percentwho knew how to conquer both critics and the public, That’s Paris! split. While some praise its vibrant homage to cabaret and its ability to mix nostalgia and modernity, others point to a lack of bite and uneven narrative choices.
Pour Tele-Leisurethe series “resurrects the soul and magic of cabaret confronted with today’s society”et The Pointrather seduced, notes: “We let ourselves be drawn into this whirlwind chronicle, embodied by a luxury cast…” However, the magazine qualifies its enthusiasm, evoking “a first episode of exposition which seeks its path(s)” and a “sometimes overloaded storyline”.
A series between charm and imperfections
In terms of performance, opinions converge. Telerama salutes the luminous presence of Nicolas Maury, whose interpretation brings a saving energy, while The Unrockuptibles praise Alex Lutz, who “ideally slips into the skin of a man between two ages and two eras, with a melancholy that is never ostentatious, in the service of the show. It is first of all he who makes you want to stay until the end. »
If the media appears generally won over, describing a “pleasant miniseries, whose somewhat predictable dross (…) does not spoil everything”, Telerama is less forgiving. For the latter, the series “omits the fine work of weaving which gives rise to attachment and falls headlong into the cheesiness which she strives to surround with tenderness”. A divide in opinion which clearly illustrates the ambivalences of this production, between visual ambitions and narrative limits.
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