Considered as one of the best French films ever and as a worldwide masterpiece, "Children of Paradise" is a milestone: first French movie released after the liberation of Paris in 1945, it is pivotal between pre- and post-WWII cinema. On the one hand, it pays tribute to silent pictures (there are more than 20 minutes of pantomime) and represents the culmination of 1930s "Poetic Realism": poetic dialogues, archetypal characters, enhanced drama (it just lacks social background). On the other hand, it announces post-WWII modernism: strong thematic structure, mix of styles, reduced action.

The movie is a homage to theatre and pantomime. If the overall connecting thread is the love story between Garance and Baptiste, the main theme is the contrast between theatre and "real" life: to what extent do shows imitate life... or conversely? This thematic axis is reinforced by symmetries between other elements, associated by pairs.

STRUCTURE & STYLE

The movie is divided into two Parts of approximately equal lengths. It opens and closes with a shot on the same street, yet with contrasting moods: joyful at the beginning, sombre at the end.

On the one hand, the style is scenic: acting, dialogues, settings, lighting, music. Notably, all major actors had an important theatrical career beforehand. It seems the action could take place anywhere, anytime since no outside event is evoked, even though in 1830 (around which date the action takes place) a major revolution occurred. We always are on the main street, or inside or near buildings, as in a play (only short exception: the duel between Frederick and the playwright in the countryside).

On the other hand, it is a realistic movie. Baptiste, Frederick and Lacenaire are based on actual 19th century celebrities; even the names are accurate. Montray and Garance are inspired by existing persons. The shows are authentic, although altered. Personalities are complex. For instance, Lacenaire is at the same time a murderer and a poet, without scruples but not without values: after planning to kill Frederick out of jealousy, he becomes found of him because he was generous; hence he murders Montray (and quietly awaits his own execution) to prevent the latter killing Frederick in duel.

CHARACTERS

Characters are opposed by their belonging to the theatrical world or not. Of the two main female roles, Nathalie is an actress while Garance is not (she only plays shortly in Part 1). This contrast is reinforced by their opposite personalities, as well as Garance's changing mood: in Part 1, she is always smiling as she points out herself, but in Part 2 she is sombre, until the very end when she leaves in the carriage. To illustrate this duality, she is first shown looking in a mirror and afterwards frequently uses this device.

The four main male roles are divided into two groups: actors and others. In each of these, antagonisms are accentuated: pantomime (Baptiste) versus spoken theatre (Frederick); crime (Lacenaire) versus aristocracy (Montray). To enhance contrasts further, each of these men love Garance in a different way: idealised (Baptiste), physical (Frederick), intellectual (Lacenaire, character with homosexual innuendos), venal (Montray)... even though all are jealous of the other ones.

EVENTS

Many events are duplicated: once in a theatrical mode, once in real mode, and frequently once in each of the two Parts. Just a few examples:

• Baptiste loses Garance to Frederick; the same happens in a staged pantomime.
• The show "Chand d'Habits"... is directly inspired by Jericho, for which he blames Baptiste's father.
• Frederick reads "Othello" in his bedroom... then plays it on stage.
• Frederick rehearses a cheap play... then massacres it live, both scenes mixing theatre and reality.
• Montray offers Garance a huge bouquet in her dressing room; Frederick, while on stage, offers the same in her theatre box.
• Montray plays with a stage prop chicken and throws it; Frederick eats a real chicken and throws the bones.
• Some dialogues are repeated on and off stage.