Paris Movie Walks: A Book Review

…Overall, France, or rather Paris to be precise, has always served as one of the strongest filmmaking muses in terms of location shoots with hundreds of movies set – if not fully then at least partially – in the famous City of Lights that has seduced artists from every medium for centuries.

In the newly published book from The Intrepid Traveler, the journalist, film enthusiast and Parisian aficionado who’s resided in the country since 1993 – Michael Schürmann blends his passion for his adopted homeland by sharing 10 wonderfully unique, fact-filled, film fan tested self-paced tours throughout the city that’s now become best known for lights, camera, action, and A-list movie stars.

To its credit and in order not to weigh you down with too many guides, Schürmann’s “Paris Movie Walks” is filled with maps and is additionally guided with his concise, accurate and straightforward style – possibly indicative of his background as both a sportscaster and translator. Additionally it’s one that’s sprinkled with sidebars (yet most often placed at the bottom of pages) and “asides” comprised of cultural information, tips, and worthwhile historical facts.

And as the incredibly long title promises, a “guided tour” is exactly what the book delivers as throughout the 280-page work, it feels for readers as though Schürmann is walking with you a la textual GPS. To this end he tells you to turn left or right in each individual walk that you can pick and choose from which coincide with endless and awesome pop-culture cinematic citations of “if you look to your left” you’ll see where Anne Hathaway tosses her cell phone in the famous Concorde Fountain in “The Devil Wears Prada” or how to position yourself to stand in the exact place that Robert De Niro did in anticipation for the crane shot that captured the beginning of the film “Ronin,” etc.

While it’s safe to say that not all of the films made in Paris have been classics including Steve Martin’s newest interpretations of “The Pink Panther” or the third installment of “Rush Hour,” Schürmann delves way into the past for his references managing to satisfy ardent lovers of classic French film in addition to citing American efforts like “Sabrina,” “French Kiss,” and others.

At the same time, he succeeds in pleasing the students of the New Wave and beyond by leading visitors to the same places seared into celluloid in such works as “An American in Paris,” “Gigi,” “Funny Face,” “The DaVinci Code,” “The 400 Blows,” “The Bourne Identity,” “Amélie,” “Three Colors: White,” “A Man and a Woman,” “Last Tango in Paris,” “Le Divorce,” “Jules and Jim,” “Charade,” and “Frantic,” and on and on.

As often the locations included in the movies were chosen in order to present the most picturesque views of the city – to show off its landmarks or perhaps to offer visitors new glimpses at undiscovered treasure – the walks included have a logical advantage as well since they often place you in and around the iconic stops you’d intended to make all along in your itinerary.

However, Schürmann’s selections are far from predictable and he makes every attempt not to lead visitors to the city down the same routes they may have previously exhausted. In fact, he comprised the tours when he realized that friends seemed far more interested in tidbits about “French Kiss” style movie locales than traditionally historical artistic and overly publicized landmarks. And as the press release explains, the walks consist of “four through the heart of the city, four around the periphery of central Paris, and two through the working-class neighborhoods that served as settings for French film classics of the 1930s and 1940s.”

Although unfortunately the book doesn’t come with frequent flier miles, French lessons, or a first-class plane ticket – for film buffs – it’s a wonderfully unique travel guide that will easily fit into your carry-on bag. And more importantly, for those of us who don’t exactly foresee a trip to the City of Lights in our budget at this moment – writing as someone who just reviewed it, having never set foot in the country but has seen most of the films mentioned – it was a great armchair travel puzzle you could play in your head putting Gene Kelly next to Jackie Chan and Matt Damon to piece together the geography in your mind.

About The Author
Jen Johans’ P.O.V. can be found on http://www.filmintuition.com. She is a three-time national award-winning writer and self-described “walking movie encyclopedia.” She has braved the adventures of cinematic and arts criticism online for four years via Film Intuition.

“Doubt” On Broadway, A Review

This production has closed.

No doubt about it, John Patrick Shanley’s Doubt is the best new play to hit Broadway in a good long while. In fact, it restored my faith in American drama.

Set in the Bronx of Shanley’s youth, it tells the story of the struggle between the crusty old nun who runs the parochial school with an iron hand and the charismatic young priest she believes has molested one of her young charges.

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“Dirty Rotten Scoundrels” On Broadway, A Review

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Over the years, I have bemoaned the fate of a number of cheerfully low-brow Broadway musicals that got slammed by New York critics and closed before they could find their audience. So now that “Dirty Rotten Scoundrels” is a bona fide hit, why am I so unenthused?

Based on the hit movie of the same name, “Scoundrels” tells the tale of Lawrence Jameson, a suave, vaguely English con man (John Lithgow) who, with the aid of a corrupt chief of police (Gregory Jbara), has had an illustrious career bilking rich women like Muriel Eubanks (Joanna Gleason) out of their money on the French Riviera. His idyllic life is thrown into disarray with the appearance of Freddy Benson (Norbert Leo Butz), a distinctly down-market but nonetheless successful American version of Lawrence. When Freddy begs to learn from the master, apprenticeship turns to rivalry and a heartless bet to con the seemingly guileless American Soap Queen, Miss Colgate (Sherie Rene Scott) out of fifty grand.

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‘Amadeus’ On Broadway, A Review

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Peter Shaffer’s “Amadeus,” one of the longest running dramas to ever grace the Broadway stage, is back. But is it better than ever?

The play, as you may recall, is the story of the jealousy Antonio Salieri, the most renowned composer of his age, felt toward that young upstart Wolfgang Amadeus Mozart, whose true genius only Salieri (in Shaffer’s vision) could appreciate. In the end, Salieri became so obsessed with Mozart’s superior artistry that on his death bed he babbled incoherently that he had murdered Mozart more than thirty years earlier. He was mad, of course. Or was he? This is the historical mystery that Shaffer presumes to unravel in his imaginative retelling of the tale. Along the way he engages in a fascinating meditation on the urge to excellence and fame that many of us feel and the mediocrity to which most people — present company excepted, of course — are condemned.

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