Les Enfants Du Paradis

Photographed By Alexandre Diallo

Christophe Josse’s Spring/Summer 2011 collection immediately brought to mind "Les Enfants du Paradis", "Children of Paradise," 1945. It wasn’t a literal reference, so much as a resonance, the poetry of the title, the atmosphere it evokes, and the emotional impression that surfaced the moment I saw the collection. I didn’t experience the show in person, a friend of mine, Alex, a graduate student and occasional photographer, attended in Paris. A city I often feel I should be living in.

Set within the theatrical world of 19th century Paris, the film centers on the enigmatic courtesan Garance, Arletty, and the four men who fall in love with her. Among them is Baptiste, the mime, Jean-Louis Barrault, whose expressive pantomime and luminous presence, often clad in white harlequin costume, lend the film some of its most striking, almost transcendent moments.

Directed by Marcel Carné, the film was voted the greatest French film ever made in 1995. While I hesitate to fully endorse that claim, having since encountered many extraordinary works of French cinema, I understand why it holds such a reputation. Its scale, artistry, and emotional depth are undeniable.

Critics David Stratton and Margaret Pomeranz captured this well in their discussion. They note not only the film’s artistic achievement, but also the extraordinary circumstances of its production. Filmed during the German occupation beginning in 1942, and released after the Liberation in 1945, it came to symbolize France’s cultural reawakening after years of war.

Margaret highlights the remarkable work of set designer Alexandre Trauner, whose vast, intricate sets remain astonishing, especially considering the constraints under which they were created. Trauner would later go on to Hollywood, contributing to films such as "The Apartment".

The film’s ambition is perhaps most evident in its scale, thousands of extras, sweeping scenes, and an immersive theatrical world brought vividly to life despite immense limitations. It’s a testament to creative resilience.

Margaret also recalls a famously provocative remark by Arletty, who faced accusations of collaboration during the war due to a relationship with a German officer, “My heart is French, but my ass is international.” The line, irreverent and unapologetic, has become part of the film’s enduring mythology.

Ultimately, "Les Enfants du Paradis" is a film that invites repeated viewings. Though it spans nearly three hours, it rarely feels excessive. It’s immersive, generous, and deeply affecting, a work that lingers long after it ends.