Gene Kelly, Gainsbourg… et Jean Dujardin : le joyeux programme de Michel Hazanavicius pour “42ᵉ Rue”

French filmmaker Michel Hazanavicius, renowned for his acclaimed film The Artist, has recently been entrusted with directing the music programming for the television show 42ᵉ Rue. The series, curated under the guidance of journalist Laurent Valière, is set to explore a rich spectrum of musical numbers with a focus on comedies and musicals.

Hazanavicius begins his tenure by selecting an engaging opening track: "Alléluia" from the 1972 film Tout le monde il est beau, tout le monde il est gentil, a satirical comedy by Jean Yanne. This choice highlights the enduring wit and cultural resonance of Yanne’s work, which Hazanavicius appreciates for its sharp yet erudite humor.

The director’s programming promises a blend of joyful surprises and rediscoveries. Alongside familiar hits, the lineup features less mainstream pieces such as "J’étais fait pour les sympathies," a song penned by Serge Gainsbourg but performed by Jean-Claude Brialy in a television film. This inclusion points to Hazanavicius’s interest in unearthing overlooked musical moments from French cultural history.

Adding an intriguing cross-cultural dimension, the selection includes a rendition of "Bambino" performed in Arabic by actor Jean Dujardin. This adaptation reflects the director’s inclination toward innovative reinterpretations of classic tunes, broadening the scope of musical storytelling.

Further enriching the playlist is the iconic "Everybody Needs Somebody To Love," famously performed by the Blues Brothers, which brings a vibrant energy to the program. The mixture of international influences and eras offers viewers a dynamic experience that navigates between nostalgia and novelty.

A standout moment in the series is the inclusion of "I Like Myself," from the musical Beau Fixe sur New York, distinguished by its impressive tap-dancing sequence on roller skates executed by the legendary Gene Kelly. This segment serves as a tribute to the golden age of musicals and showcases Hazanavicius’s admiration for classic cinematic choreography.

The Artist, Hazanavicius’s breakthrough film, received widespread recognition for its homage to the transition from silent films to talkies, a theme echoed in the musical selections for 42ᵉ Rue. By drawing parallels between cinematic history and musical evolution, the director crafts a thematic continuity that enriches the viewing experience.

While the exact scope and future episodes of the show remain to be detailed, the initial selections indicate a thoughtfully curated program that balances entertainment with cultural insight. Hazanavicius’s direction appears committed to both celebrating well-known works and reviving underrated pieces, thus offering audiences a comprehensive and engaging musical journey.

The collaboration between Laurent Valière and Michel Hazanavicius marks a notable moment for French television, where a celebrated filmmaker applies his cinematic sensibility to the realm of televised musical programming. This fusion of expertise promises a fresh perspective that honors the heritage of musical comedy while inviting contemporary appreciation.

As 42ᵉ Rue advances under Hazanavicius’s artistic vision, viewers can anticipate an eclectic parade of musical numbers that traverse genres, languages, and historical moments. The series stands poised to become a vibrant platform for both rediscovery and celebration of musical artistry on screen.