It is no surprise that Christophe Barratier’s film “Les Choristes” or “The Chorus” (Galat?e Films) was France’s collective nominee for the foreign film category at the Academy Awards. It is one of the more palatable and “feel good” movies I have seen for quite some time. The performances were genuine and well-acted, the direction was touching and intimate, the plot was well-crafted and the music – the arguable foreground of the film – was undeniably beautiful. My problem with France’s most recent heartstring orchestra is not with any of the technical aspects. But the fact remains that in order to truly speak to audiences, a film must delve deeper than Barratier was prepared to go.
“Les Choristes” is a memoir written by a schoolteacher named Clement Mathieu (Gerard Jugnot) and read many years later by one of his former gifted but troubled pupils by the name of Pierre Morhange (Jacques Perrin). It is in this frame that the slow and steady path of Clement (whom, you can be most assured, always acts with clemency) leads him to create a choir for the boys, which, much to the dismay and disbelief of the principal, succeeds in harnessing their otherwise boundless energy. The boys continue with their vocal lessons, and many a montage elicit their improvement, which allows for some growth in the previously defeated Clement, which Jugnot expresses with definite grace and sincerity.
The issues I have taken with the film are not of direction or acting, nor are they of the portrayal of a post-WWII French correctional school. My single, although pervasive, critique is that it failed to make one complete statement without being fragmented by whimsical tangents or brief romantic addendums. The absurdity of traditional schooling comes close to being effectively emphasized, but before any serious conclusions are made about the pressing issue, a new problem is introduced. Additionally, the necessity for music and art in a modern society begins to be examined, but ultimately falling short of reaching any finite or clear synthesis of the opposing views. The audience is left with a desire for a weight, of any kind, to guide their minds towards any substantive conclusion.
At risk of falling into that oh-so-common critical pitfall, I feel obligated with this film to say: If you are looking for a nice movie with good acting and a decent story you will find ‘Les Choristes’ quite rewarding. However, if you are looking for a movie of artistic and creative merit and profundity, you will not find it here.
“Les Choristes” opens Friday in Washington, D.C.
