French Restaurant Review: Benoît, Paris 

Benoit Restaurant

Opened since the 1910s, Benoit is a institution in the Parisian dining scene. Sometimes, nothing beats a cosy, traditional restaurant and its honest and delicious French food.

By Alexander Lobrano

Since traditional bistro cooking has increasingly become an expensive heirloom dining experience in Paris, Benoit is a place I happily keep close tabs on, regularly returning to revalidate its reputation as one of the capital’s great gastronomic institutions since it opened in 1912. Sitting in the Metro on my way to my most recent dinner here, I couldn’t help but feel nostalgic as I mused on my first meal in this charming dining room, with its brass coat racks, globe lamps and big service bar in the original dining room.

On a chilly wet September night in 1986 when the stone pavements of Paris were covered with slippery yellow appliqués of fallen chestnut and poplar leaves, I pulled back the heavy red velvet breeze-blocking curtains at Benoit and stepped inside. Newly arrived in Paris, I was living in a (now long-gone) hotel on the Rue Boissy d’Anglas, which meant I had to dine out every night, a daily inevitability I deeply dreaded.

Aside from an occasional lunch seated on a stool at an American coffee shop, I’d never eaten alone in a restaurant dining room, and I found this public display of my solitude excruciating. I squirmed non-stop, imagining that people thought I was pitifully friendless or eccentric – or both. I bolted through these meals as quickly as I could and avoided eye contact as well.

inside Benoit

 

Still, since I was living on a company expense-account it would have seemed foolish not to make the best of things, so I was working my way through the addresses found in a popular restaurant guidebook to Paris and had booked a table for one at Benoit.

Though I especially loathed what seemed like the eternity of standing by the reservation stand by myself, I was immediately mesmerized by the soft, glowing light of this intimate dining room, its velvet banquettes and the framed black-and-white photograph of a natty old man in a beret on the wall. I was greeted and seated immediately, though, and my waiter was an avuncular man with an immaculate white apron tied with a small tight knot in the middle of his barrel-like girth.

For some unknown but lucky reason, he was instantly amused by me, and after bringing me the menu, he returned with a flute of champagne, which panicked me, because I hadn’t ordered it and didn’t want my new employer to accuse me of extravagance. I fumblingly tried to wave the bubbles away, but he shook his head.

Avec ce temps de merde, il faut boire du champagne,” he insisted (‘with this crappy weather, one must drink champagne’); he was right, too, and the drink never showed up on my bill either. When he returned to take my order, he told me what I would be eating instead – leeks vinaigrette with toasted hazelnuts, boeuf aux carottes, and tarte Tatin (my first), washed down with a bottle of Cairanne. I was dumbstruck by his gastronomic domineering, but it was one of the best meals I’ve ever eaten. Why was he so kind to me? I’ve often wondered, but I can’t help but think that I may have reminded him of himself the day he’d climbed on a train somewhere deep in the French countryside as an innocent young man to move to Paris and make his way in the world.

In any event, Benoit has been a fixture in my life for nearly 40 years, and through various changes in ownership – Alain Ducasse bought it from the Petit family in 2005 – it’s never failed me. Meeting a friend for dinner the other night, however, I was disappointed by the distracted and disorganised welcome from a rather off-handed young woman, because given its prestige, Benoit deserves a seasoned maître d’.

But the menu continues to deliver in the most marvellous of old-school ways. My spouse is from Valenciennes, a small industrial city on France’s border with Belgium that I’ve visited many times, so I was glad to see this proud, hard-working little town’s gastronomic speciality still on the menu: la langue de Lucullus fine slices of smoked tongue interleaved with pâté de foie gras a rich but sumptuous treat. Onion soup and escargots in garlic butter, which my friend had, were also excellent versions of these monuments of Gallic gastronomy. Skate wing with a grenobloise sauce (lemon, capers, brown butter and croutons) was outstanding, as was the cassoulet, a long-running favourite of the regulars here, and the tête de veau ravigote, or boiled calf’s head. Sadly, these great French dishes are increasingly difficult to find in Paris as younger French diners prefer ‘light’ eating, including sushi, hamburgers and pizza.

Alas, the tarte Tatin, the upside-down tart of caramelised apples that left me stunned with pleasure when I ate it with spoonful after spoonful of ivory-coloured crème fraîche many decades ago is no longer on the menu. But the savarin (sponge cake) with armagnac is an excellent stand-in and so is the delightful vanilla mille-feuille.

To be sure, Benoit has become rather pricey – plan on spending about €80 a piece at dinner here, but as long as its heavy, red velvet curtains on a ceiling-mounted half-moon of brass continue to block the damp breezes of an often rainy city, we’ll always have Paris.

20 rue Saint-Martin, 4th arrondissement, Paris

Tel. (33) 01 42 72 25 76

 

Source: French Restaurant Review: Benoît, Paris – France Today

“Natacha (almost) flight attendant”: an original comedy with a five-star cast

A rare comic book heroine born in 1970, Natacha, by screenwriter Gos and illustrator François Walthéry published in the comic book magazine Spirou, is being adapted for the screen for the first time.

 

By Jackie Bornet

This adaptation of the comic strip Natacha, Flight Attendant , is a very pleasant surprise, and the “almost” in the title corrects the situation compared to the original. It is not, in fact, a cinematic version of the album, but a new adventure that explores the heroine’s origins and her first steps in the airborne universe. Directed by Noémie Saglio, her film is full of charm and energy, embodied by Camille Lou, alongside Vincent Dedienne, Didier Bourdon, Elsa Zylberstein, Isabelle Adjani, and Fabrice Luchini, no less.

Perfect for this joyful spring period, Natacha (almost) flight attendant is released in theaters on Wednesday, April 2.

Source: “Natacha (almost) flight attendant”: an original comedy with a five-star cast

Classic Film Review: Fernandel gives the 1952 Mademoiselles the “French Touch (Coiffeur pour Dames)”

Fernandel

“French Touch,” aka “An Artist with the Ladies” and titled “Coiffeur pour Dames” in its native France, is a screen comedy adapted from a stage play that could have been tailor-made for its star.

The French vaudeville singer and comic Fernandel plays a lowly sheep-shearer who clips his way to hair styling stardom in post-war Paris by giving scalp “massages” that are catnip to the ladies. That points him and us towards a marriage-threatening, client-clinging, teen daughter seducing finale that screams out for something bawdier than the mild-mannered 1950s would allow.

But more importantly, as our anti-hero Mario juggles the wife (Blanchette Brunoy), the many upper class clients and the somewhat smitten 18 year-old daughter of a client (Françoise Soulié) he has massaged his way into, dodging husbands and fathers as he bounces from office to salon to apartment along the way, you miss the doors he should be slamming behind him or getting slammed in his face.

Marius the sheep shearer (Fernandel) has a gift, something the ladies of his village pick up on straight away.

“You’ll go far with those hands!”

Whatever leering accompanied that on the stage, it’s largely brushed past in this not-particularly-bawdy comedy. Because in a few too-quick scenes, we watch Marius work his way from sheep and dressing up horse tails for contests at county fairs, to dog grooming and hair-styling for plastic dolls in Marseilles, where he meets Aline (Brunoy) and talks her into marrying him and following him to Paris as he pursues his dream.

Even in a tiny salon working for somebody else, “Mario” as he now calls himself, becomes famous for “fingers that speak.” To clients, “each hair is a violin string” (in French with English subtitles) for this “virtuoso” of the scissors, shampoo and hair dryer.

He seems destined for glory, and not just for mastering the basics. The hairdresser is “everyone’s confidante and father confessor.” The ladies want his coiffeur adorning their heads and his fingers working their scalps into relaxing release.

“Your profession’s so gay,” one client swoons, in a pre-Stonewall use of the word. Mario is simply irresistible.

The first client to truly cross the line is kept woman Edmonde (Arlette Poirier). She demands that he come to her apartment to prep her for an evening at the theater with her married lover, and they get so carried away that the next thing you know, they’re in bed together.

How he knew to keep a pair of pajamas with him at all times is why he is French and you and I are not.

But it isn’t until Mario clips 20 years off the wife of the kept woman’s paramour that his world changes. He saves Mme Brochard’s (Renée Devillers) marriage, and she sets him up in his own salon. Soon, every posh Parisienne is at his fingertips. Literally.

Naturally, our Icarus flies too close to the sun…or daughter, in this case, Mme. Brochard’s hip teen daughter (Françoise Soulié).

Yes, modern viewers are allowed to say “Ewww” here. Even accounting for the difference in eras, that wasn’t Miss Austen’s Empire waistline England and 18 paired with a stout, grinning hair-dyed fop of his late 40s isn’t played for the big laughs it might have delivered. Not that young Denise seems over the moon about the hairdresser who pines for her.

That goes for much of this Jean Boyer film. Whatever his earlier reputation, this outing seems muted and muzzled, watered down even for its era. He is best-known for his pre-war films, although he worked steadily up until his death in 1965. “Un mauvais garçon,” “Virginie” and “We Go to Monte Carlo” might be his most famous credits, although as a writer and composer, he had a tune on the “Chocolat” soundtrack decades after his passing.

Still, Fernandel is in fine form and the framework of this follicle-friendly farce holds it all together. It’s not a great French sex comedy, even of its era, but it’s well worth checking out, if for nothing else than considering how it might be remade, even today.

A bawdier version where they don’t forget to slam a few doors could still play.

 

Source: Classic Film Review: Fernandel gives the 1952 Mademoiselles the “French Touch (Coiffeur pour Dames)” | Movie Nation