The lives of young and old, rich and poor mingle cosily in Fauteuils d’orchestre (Avenue Montaigne / Orchestra Seats) a dramatic comedy of intersecting stories that offers romance, the pursuit of the arts and a delightfully bubbly Cécile De France all in one package. Director and co-screenwriter Danièle Thompson (Décalage horaire/Jet Lag) admirably juggles the different narratives and knows how to imbue her stock characters and situations with life through a savvy direction of her actors.

In the culture temples close by, an overworked concert pianist (Albert Dupontel) prepares for a big concert, an art collector (Claude Brasseur) has decided to sell his collection when faced with his own mortality, a popular actress (Valérie Lemercier, from Palais Royal!) craving for serious work tries to survive a theatre run of a classical farce whilst shooting the soap that made her famous at night and the aged theatre concierge Claudie (Dani), almost more famous than all the stars that she has worked with, is working her last week.

Jessica, running errands for the Brasserie, will meet them all in the course of the film. The young and somewhat naïve waitress may believe that the artists and “in-crowds” have an enviable life but she will learn that having talent, money or business savvy does not make the rich and famous any less human. The message may be as unoriginal as the way that Jessica meets all the characters is contrived, but Thompson and her son Christopher (who co-wrote the script and also stars as Brasseur’s son) do have a knack for finding the humanity and the comedy in their characters that can only be called pleasant to watch. Their approach reminds of the recent hit sequel Les poupées russes (The Russian dolls) which also starred De France (and had a similar poster). Where Fauteuils… differs from Klapisch’ film -- which explored the start of the careers of barely 30-year-olds -- is that, besides the added contrast of class, this time around there is a more balanced picture with people at the beginning, in the middle and at the end of their careers.

Fauteuils d’orchestre features more than decent acting from its ensemble cast (including supporting actress Laura Morante as the wife of Dupontel’s character and Sydney Pollack as an American director who is chased by Lemercier’s actress for a role in his next film), which, combined with the humanity and humour of the Thompsons’ script, will ensure a good night out at the cinema. Perhaps not as highbrow as the world portrayed in the film, but Jessica and her grandmother would certainly have enjoyed it -- as long as the cinema has red velvet chairs that offer the illusion of luxury.

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