Revue montmartroise: A bit dusty, but charming

Is this for you?

If you like the feeling of digging through a box of old postcards found in a flea market, you might dig Revue montmartroise. It’s definitely not for anyone who needs a tight, three-act structure or high-octane pacing. If you prefer modern, slick editing, you will probably hate this. It’s slow, it’s theatrical, and it’s very much a product of its own time.

Honestly, watching this feels a bit like eavesdropping on a party that ended ninety years ago. 🥂

The Vibe

There isn't really a story here. It's just a string of performances held together by the spirit of Montmartre. Paul Colline is doing his thing, and honestly, some of the jokes land way better than others. There's a certain rhythm to the dialogue that feels like a stage play taped onto film. It’s not trying to hide its roots.

Some of the reaction shots from the audience members in the back are just… weird. You can tell they’re trying to look natural, but they end up staring blankly at the camera for way too long. It’s kind of funny in a way I don’t think they intended.

Compared to others

It lacks the street-level grit you find in Under the Roofs of Paris. While that film feels like it’s actually breathing in the city air, this one feels more like it’s trapped in a studio. It’s got that specific artificial glow that a lot of these older musical revues have.

If you want something with a bit more punch, even the short, snappy fun of Steamboat Willie feels more alive than some of the drier bits here. But there’s a charm to the lulls, too. You get to see how these people carried themselves.

• Cloë Vidiane has a way of holding the frame that makes the rest of the scene seem to stop.
• The sound mixing is a total mess—you can hear the echo of the room, which actually makes it feel more real.
• René Dorin really knows how to lean into the cabaret style, even if it feels a little bit over-the-top by today's standards.

I found myself wondering what the set looked like behind the camera. It feels small. Like, really small. You can practically see where the lights end and the dark, dusty corners begin.

Final thoughts (or lack thereof)

The movie gets noticeably better when it stops trying to be a cohesive "show" and just lets the performers ramble a bit. There’s no big climax. It just sort of… ends. Which feels right for this kind of thing. It’s not a masterpiece, and it’s definitely not for everyone, but it’s got a heartbeat. Even if that heart is beating in 1930s Paris. 🎩