I chose 'Cherchez l'idole' as my Christmas day movie. No, this is not a contest for discovering new talents but a French musical film made 55 years ago that transported me in time to the period when I was subscribed to French magazines for children and youth and I was watching from distance the evolution of the musical idols of the French youth grouped into what they called the 'ye-ye generation' - Johnny Hallyday, Sylvie Vartan, Eddy Mitchell. All these and a few others appear and sing in this film together with Charles Aznavour, who was an already established singer at that time. The group of music stars receives as reinforcement a number of other celebrities of the time in cameo appearances, some more consistent (such as that of actress Mylène Demongeot or of Bruno Coquatrix , the director of the famous Parisian Olympia concert hall), some less important. A delicious nostalgic journey for those who are familiar with the music and entertainment world of France in 1964.
Musical films have their rules and non-rules. A realistic or believable story is by no means a mandatory requirement, and 'Cherchez l'idole' does not depart from this non-rule, proposing as a pretext a slightly detective, slightly romantic story whose sole purpose is to put the heroes in search of the stars of the French song that all would have bought the same type of guitar (the model used by Elvis, of course) with delivery in the same morning. On the other hand, the rule of giving each of the musical stars the opportunity to present her or his talent is respected. 1964 was not only the year of the world-wide consecration of the Beatles, but also the year of a generation change in French music that brought to the centers of the stages the singers beloved by teenagers and young people at that time, without neglecting the ones already fampus. The merit of the film lies in the taste and inspiration of the directors in choosing some of the best young singers of the moment, who all made fabulous careers in the half century after that.
About the director Michel Boisrond I confess that I haven't heard much. It seems that he has enjoyed success especially with action films, and he has the merit that here he does not try to experiment too much, thus serving well the purpose and genre of the film. Franck Fernandel, the son of the popular French comedian (with whom he bears a formidable resemblence) is fine in the lead role and its thin pretext story. 'Cherchez l'idole' is first and foremost a documentary snapshot of the year 1964 in French music and, thanks to the music and singers appearing in the film, a more than reasonable entertainment, including for a holiday viewing.
Musical films have their rules and non-rules. A realistic or believable story is by no means a mandatory requirement, and 'Cherchez l'idole' does not depart from this non-rule, proposing as a pretext a slightly detective, slightly romantic story whose sole purpose is to put the heroes in search of the stars of the French song that all would have bought the same type of guitar (the model used by Elvis, of course) with delivery in the same morning. On the other hand, the rule of giving each of the musical stars the opportunity to present her or his talent is respected. 1964 was not only the year of the world-wide consecration of the Beatles, but also the year of a generation change in French music that brought to the centers of the stages the singers beloved by teenagers and young people at that time, without neglecting the ones already fampus. The merit of the film lies in the taste and inspiration of the directors in choosing some of the best young singers of the moment, who all made fabulous careers in the half century after that.
About the director Michel Boisrond I confess that I haven't heard much. It seems that he has enjoyed success especially with action films, and he has the merit that here he does not try to experiment too much, thus serving well the purpose and genre of the film. Franck Fernandel, the son of the popular French comedian (with whom he bears a formidable resemblence) is fine in the lead role and its thin pretext story. 'Cherchez l'idole' is first and foremost a documentary snapshot of the year 1964 in French music and, thanks to the music and singers appearing in the film, a more than reasonable entertainment, including for a holiday viewing.
