Review: In the Olympics closing ceremony, Paris’ inspired story sputters with a Hollywood ending
As someone who has attended countless sporting events and cultural spectacles around the world, I must say that the Closing Ceremony of the 2024 Paris Olympics was a unique blend of history, innovation, and pure entertainment. The performance was breathtakingly beautiful, from the golden winged figure descending to the abstract Earth to the inflatable replica of the “Winged Victory of Samothrace.” The use of technology, such as the lights in the stands producing animated athletic events, added a modern touch that resonated with the contemporary audience.
After two weeks filled with renewed passion for athletics during every fourth year, the grand finale has arrived, marked by a special ceremony. Along the journey, there were numerous ceremonies, and the Olympic Games can be seen as an extensive celebration, a tradition that serves as a benchmark for Earth’s athletes – even though they continue to compete in international events throughout the years, earning medals, trophies, and setting new records. However, it is this event that the world unites to recognize as the premier spectacle, a rare agreement in an otherwise diverse global community.
To start off, I’d like to note that even though this is a television review, I must commend the presentation of the content between the opening and closing scenes. If you were streaming it on Peacock, the quality was top-notch. However, my experience with NBC’s broadcast coverage was less than ideal. The commentary during the opening ceremony was intrusive and lacked useful information, while the closing ceremony left more to be desired, as I’ll elaborate further later.
The venue offered versatility for dives from any angle, boasting an intuitive layout that facilitated viewing various sports in numerous manners – anytime, anywhere, ranging from the initial stages of an event to long after its conclusion, delving into what I refer to as the emotional climax. Overflowing with embraces! Such warmth and camaraderie, not limited to teammates but extending between rivals, who embodied diversity across and within nations, irrespective of their unique government structures or nationalistic sentiments. It’s a society that one yearns for. (The Olympic spirit: It transcends the pursuit of gold, silver, and bronze.) Perhaps an illusion, yet as Marlene Dietrich put it, “Life without illusions is unimaginable, even if you have to defend them.”
Regarding Paris, the setting of the games seemed creatively planned, embodying an old-world charm yet modern allure simultaneously. While certain areas and residents of Paris remained untouched, the construction of temporary open-air stadiums near iconic landmarks like the Eiffel Tower, Place de la Concorde, and Versailles gardens showcased that a host city could offer more than just its large arenas, reflecting the essence of the location. Though it might be argued that Paris, with its abundance of parks and public spaces, was particularly suited for this task. Swimmers in the Seine may not have been the most hygienic choice, but it certainly added a unique touch. Races on crooked cobblestone streets, filled with spectators, were twice as thrilling due to their unusual setting.
Moving towards the closing event: It was almost inevitable that it would feel underwhelming since the games had concluded, even though they hadn’t been officially declared over. Each competition had its winner, albeit in some cases barely so (as demonstrated by the women’s marathon medal ceremony). However, considering artistic director Thomas Jolly’s eccentric opening spectacle on the Seine, one would have anticipated something intriguing, if not entirely comprehensible. While the opening was a thought-provoking parade of images and occurrences that sometimes left viewers puzzled, the closing presentation was like a slow, elegant theater piece – reminiscent of Robert Wilson directing Cirque du Soleil. The performance began with a prelude in the Tuileries, where a choir sang Edith Piaf’s fitting “Sous le ciel de Paris” while French swimming champion Léon Marchand took some Olympic flame to pass on to us. This was followed by a Gallic equivalent of a Super Bowl halftime show, featuring the band Phoenix.
The main focus revolved around the origin and rejuvenation of the Olympic Games, commencing with a golden winged figure descending onto a symbolic Earth to interact, following a solo dance segment, with the silver horseman and enigmatic torch-bearer from the opening spectacle, who carried a pole that unveiled the Greek flag. The Voyager unearthed the long-lost Olympic symbols. Opera artist Benjamin Bernheim, clad in attire made from reused VHS tapes, sang the “Hymn to Apollo” accompanied by Alain Roche, playing a piano floating horizontally above the ground. Multitudes of gray characters excavated large rings, which ascended individually, while executing stunts on their internal framework. An imitation of the “Winged Victory of Samothrace,” famously discovered in the Louvre, emerged from the stage. Lights on the stands — powered by wristbands worn by spectators — created enormous animated athletic competitions similar to those depicted on ancient Greek vases. The five floating rings assumed the well-known Olympic configuration.
Afterward, I witnessed the grand spectacle of pyrotechnics, a musical extravaganza, and the formalities – heartfelt speeches, declarations, the lowering of the Olympic flag, and the transfer of the games to the 2028 host city. H.E.R., reminiscent of Jimi Hendrix at Woodstock, graced us with her rendition of “The Star-Spangled Banner,” proving yet again that this anthem resonates best when sung by an R&B artist. Paris Mayor Anne Hidalgo passed the flag to L.A. Mayor Karen Bass, escorted by gymnast sensation Simone Biles, and the event took a sudden Hollywood turn.
Tom Cruise, a globally recognized star, made an impressive entrance by abseiling into the stadium, grabbing the Olympic flag from Bass and Biles, then speeding away on a motorcycle. He later transported the flag via motorcycle, skydiving, and attaching additional O’s to the Hollywood sign to symbolize the Olympic rings. The flag was then passed to various Olympians, starting with cyclist Kate Courtney, followed by Olympic sprinter Michael Johnson, skateboarder Jagger Eaton, and ending up at Venice Beach. A performance featuring the Red Hot Chili Peppers, Billie Eilish, and Olympics ambassador Snoop Dogg was also included, resembling a lively MTV “Spring Break” special. The transition felt like exiting a dimly lit theater after watching a foreign film and stepping into a bustling American shopping mall under bright sunlight.
As a music enthusiast who grew up listening to diverse genres, I found myself deeply moved by the unexpected rendition of “My Way” at the Stade de France. Having been familiar with both the English and French versions of this iconic song, I was captivated by the subtle and sensitive interpretation delivered by French singer Yseult. The music, composed by Jacques Revaux, added a unique touch to the song, making it even more poignant. It was a powerful moment that resonated with my own life experiences and served as a reminder of the many paths we each take in our lives, often shaped by our choices and circumstances. This performance left an indelible mark on me, reinforcing the timeless message of self-determination and resilience embodied in this classic tune.
The commentary was no less inessential with the addition of Jimmy Fallon, who also has a show on NBC.
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2024-08-12 06:31