Review: Olympics opening ceremony shined with best of Paris and France, but failed as TV

As a longtime fan of the Olympics and someone who has attended multiple opening ceremonies, I must confess that this year’s event left me feeling somewhat underwhelmed. Don’t get me wrong, there were certainly some spectacular moments – the grandeur, audacity, and nuttiness of it all shone through at times. But overall, I couldn’t help but feel that something was lost in translation as I watched from my living room thousands of miles away.

France broke the tradition of hosting the Olympics opening ceremony in a conventional stadium and instead chose the River Seine as the venue, braving the rain, on Friday. This audacious and pioneering move, fraught with security challenges, was indeed a daring experiment. The Olympics, taglined “Games Wide Open,” paradoxically featured extensive barriers, checkpoints, and a substantial presence of law enforcement personnel numbering in the tens of thousands. Yet, these elements remained largely unseen during the telecast, be it from NBC or Peacock.

The program kept its secrets well-guarded before the event, disclosing only a few details such as the attendance of 300,000 people, the 3.7-mile eastward course from Pont d’Austerlitz to the Eiffel Tower and Trocadéro, the involvement of around 10,000 athletes in 90 boats, and the existence of 12 thematic “scenes.” With such limited information available, one’s imagination was free to wander. Would we witness bearded existentialists sipping apricot cocktails? A nude descending a staircase? Jean-Pierre Léaud making a final appearance as Antoine Doinel? A strike by railway workers? The Telephone band coming back together? I hoped for at least one performer dressed as Jacques Tati’s M. Hulot, though I would have been thrilled with 100. Was there a chance of seeing mimes?

As a historian and avid theatergoer, I have spent countless hours delving into the intricacies of historical events and their portrayal on stage. However, working alongside a team comprised of a historian, novelist, screenwriter, playwright, choreographers, and costumers under the direction of Thomas Jolly was an extraordinary experience that surpassed all my expectations.

It was a brilliant plan to hold the Games in the city center and stage the ceremony on the river. Paris is a place where you don’t want to miss out on experiencing the outdoor attractions, whether it’s admiring art or indulging in buttery delicacies. After all, once you’ve seen one over-lit stadium, you’ve seen them all. The Seine made it possible for athletes to float by on their larger and smaller boats, bringing them close enough to landmarks like Notre Dame, the Louvre, the Tuileries, Place Concorde, the Grand Palais, and the Eiffel Tower, without having to travel far.

I was excitedly anticipating the performances at the concert, and there were a few artists mentioned beforehand that had me particularly thrilled. Among them was Aya Nakamura, the French Malian superstar; Gojira, the “eco-metal” band with their frequent collaborator Marina Viotti, representing the Revolution; and the enigmatic Celine Dion, who, as it turned out, closed the show with a breathtaking performance of Edith Piaf’s “L’Hymne à l’amour” from atop the Eiffel Tower. Lady Gaga, whose presence in Paris had been rumored, opened the event in style with a cabaret production of Zizi Jeanmaire’s ’60s hit “Mon truc en plumes.” Translated, that means “my thing with feathers,” and there were plenty of those – big pink fans, a color synonymous with that part of the program.

In an intriguing blend of filmed segments and live performance, a provocative gender-bending love story unfolded using book titles, hinting at a three-way relationship. The show featured ample queer themes. A dance took place in the scscaffolding around Notre Dame. However, key parts of the plot revolved around a masked and hooded torchbearer who was also seen in person and even zip-lined above the route. Significant scenes included journeys through the Metro, catacombs (with their human skulls), and alligator-infested sewers; visits to the Louis Vuitton workshop (where they created the trunks carrying the torch) and the Louvre, where figures left their paintings that later transformed into giant heads in the river.

In the Musée d’Orsay, past the ticking clock, lies a captivating segment. It comprises a brief excerpt from the Lumière brothers’ groundbreaking film – showing a train pulling into a station. This is followed by an amusing puppet show, subtly inspired by Georges Méliès’ “A Voyage to the Moon,” “The Little Prince,” and “Planet of the Apes.” Of course, that iconic French statue graced these productions as well. I particularly enjoyed this charming interlude.

In this urban setting, the blend of operatic elements scattered throughout the city could only be fully comprehended through the medium of television. However, as a television production, it fell short – adding more complexity to an already complex event that transitioned between a parade and a performance over a span of four hours. This was accompanied by commentary, interjections, and after the initial hour, commercial breaks. It served as a reminder of the mundane nature of TV and emphasized that we don’t live in an advertisement-free universe. The inclusion of a “Despicable Me” short, produced by NBCUniversal, was a clear example of corporate cross-promotion.

Mike Tirico, Kelly Clarkson, and Peyton Manning’s commentary created a chatter-inducing atmosphere during the event, similar to overhearing American voices in a foreign land. Working against them were the production’s secrecy and their limited familiarity with French culture and history. However, they mostly shared personal feelings and imagined emotions of the athletes instead of focusing on sports stats that quickly fade from memory. Essentially, they transformed the procession of athletes into something akin to the Macy’s Day Parade.

The production mostly fell short of my expectations. Yet, there were moments when the extravagance, daringness, and quirkiness of the spectacle came alive on the screen. For instance, Axelle Saint-Cirel’s powerful rendition of “La Marseillaise” from atop the Grand Palais left me in awe. The silver knight on his robotic steed skimming along the river to deliver the Olympic flag to Trocadéro was an unforgettable sight. And finally, the speeches by International Olympic Committee President Thomas Bach and Games President Tony Estanguet at Trocadéro made me ponder if there wasn’t more to the Olympic spirit than just winning medals.

In an emotional finale, Dion emerged as a beacon of freedom akin to Liberty in Delacroix’s iconic painting. The Eiffel Tower illuminated with a spectacular laser display. Athletes dressed in white passed the torch and ran together towards the Louvre and back to the Tuileries. A giant gold hot air balloon, an invention of the French, served as the Olympic cauldron. Afterwards, it ascended into the sky, likely remaining there until the closing ceremony reveals its secrets.

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2024-07-27 08:48