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A reworking of the 1945 film La Cage Aux Rossignols (A Cage of Nightingales), The Chorus was chosen to represent France in the 2005 Academy Awards as its nomination for Best Foreign Language Film. Made by first-time director Christophe Barratier, it's not hard to see why the film has had such success outside of its native France: its universal themes of music, children and the passing of innocence will strike a chord all over the world, and while they are occasionally dealt with in a heavy-handed fashion, anyone looking for a nostalgic and sugar-coated look at the past won't be disappointed.
Set in a correctional house for wayward boys, the film charts the progress of new music teacher Clement Mathieu (Gerard Jugnot), and his attempts to instil a little love and hope into his errant protégés. The boys range from the socially awkward to outright bullies, and are not averse to stealing, fighting and generally disrespecting authority. Their teachers are largely apathetic and the school is ruled by the severe Rachin (Francois Berleand), a Head who fails to tolerate the most minor infringement.
Clement is a fish out of water in this world, a naïve man who initially fails to establish any rapport with the children, and soon finds himself in trouble with his boss for his soft ways. We learn that he is something of a failed composer, but someone whose love of music has never waned, and his enthusiasm leads him to create new songs based on his students' rude ditties. The children begin to warm to him, and he finds that one in particular, Pierre (Jean-Baptiste Maunier), has prodigious musical talents.
This central relationship becomes the film's focus, and through the use of a prologue and epilogue, we understand the lasting effect that Clement has on his pupil. When Clement begins an ill-fated attempt to woo Pierre's mother, the film takes on almost tragic proportions: a depiction of a singularly good figure who loses out on much of life's happiness. Fortunately, the growing success of the choir comes to the rescue, as Clement sees his charges lose their tough exteriors and develop into respectable young men.
Why then does the film fail to live up to expectations? Simply because this is a theme that has been explored many times before. The comparisons with Dead Poets' Society are inevitable, although the film more closely resembles last year's Song For A Raggy Boy, where literature takes the place of music. However, it's still enjoyable to watch the tale of inspirational figure defeating the odds, and thanks to memorable performances by Jugnot and the young Maunier, it narrowly avoids being too crassly formulaic.
Paul Hurley