Despite working within the confined space of the Stade de France and having the collective attention of the audience, director Thomas Jolly delivered a closing ceremony that took some time to truly soar. Although the event had its slow moments, it ultimately provided several graceful highlights.
The show, titled Records took nearly an hour to hit its stride. It began with a subdued performance by Zaho de Sagazan, a rising star in French music, who sang *Sous le ciel de Paris* accompanied by a choir.
The Tuileries Garden, one of the iconic locations of these Olympics, was once again featured, along with other Paris landmarks such as the Grand Palais, the Eiffel Tower, and the Château de Versailles.
At the base of the famous Olympic cauldron, French swimmer Léon Marchand, the new national hero, carried the flame in a small lantern. His emotion was palpable.
Next came the entrance of the athletes, led by their flag bearers. For Canada, this honor went to Summer McIntosh (who won four medals in swimming, including three golds) and Ethan Katzberg (who took gold in the hammer throw). Both athletes had already left Paris—Summer was at a cabin, and Ethan...
Then came the grand spectacle by Thomas Jolly. The concept centered around a character, the Golden Voyager, who arrives on Earth and discovers the remnants of the Olympic Games. This was a tribute to Pierre de Coubertin, who revived the ancient games created 2,800 years ago.
The performance was highly theatrical, far removed from simple choreographies with children waving colorful scarves. Instead, it plunged into a blend of mythology and science fiction, populated by strange creatures. The music, performed by the Divertimento orchestra, enhanced the overall experience.
One breathtaking moment featured Alain Roche playing a piano suspended vertically, while accompanying tenor Benjamin Bernheim, as five giant wheels were hoisted to form the Olympic rings. Some might argue that this concept would have been better suited for the Avignon Festival, but it was this theatricality that had captivated us during the opening ceremony.
Thomas Jolly has a knack for using lighting to great effect. He equipped the thousands of spectators with LED bracelets, designed by the Quebec-based company PixMob. The result was stunning on television and must have been even more impressive in person.
While the ceremonies featured tributes to Édith Piaf, Charles Aznavour, Joe Dassin, and Johnny Hallyday, they also highlighted the younger generation of Francophone artists from Europe, who are increasingly embracing the English language. Phoenix, Angèle (accompanied by DJ Kavinsky), and Air all performed in English—a bit disappointing.
Radio-Canada’s lead anchors for these Olympics, Jacinthe Taillon and Martin Labrosse, along with Dominick Gauthier, were more talkative and enthusiastic than during the opening ceremony.
The closing ceremony also served as a handover to the next host city, Los Angeles, which took center stage for about fifteen minutes. Artist H.E.R. delivered a somewhat over-the-top rendition of the U.S. national anthem, a common occurrence with singers who add too many embellishments. Then, in a dramatic entrance, Tom Cruise—whose rumored appearance had been widely speculated—descended from the stadium roof on a wire. What a bold move!
The *Mission: Impossible* star then hopped on a motorcycle. This was followed by a video montage of American athletes passing the Olympic flag, culminating in a scene set in Los Angeles, where the Red Hot Chili Peppers, Billie Eilish, and Snoop Dogg performed. This segment felt like a Super Bowl halftime show.
The grand finale was entrusted to singer Yseult. It was surprising that Thomas Jolly didn’t try to replicate the impact of Céline Dion’s performance of a French classic; instead, we were treated to *My Way*, the English version of Claude François' *Comme d’habitude*. An odd choice.
Rarely have Olympic preparations faced such heavy criticism and skepticism. But in the end, they got everything right. These were the most beautiful Games I’ve ever seen. Last Saturday, I read the major French newspapers. All of them praised the Games for their exceptional quality and creativity. Even some Parisians who had left the city admitted they regretted it.
Olympic Games usually leave behind a legacy of infrastructure. The legacy of Paris, however, is one of pride. “We saw ourselves as a nation of irrepressible complainers, but we woke up in a country of passionate supporters who don’t want to stop singing,” said Tony Estanguet, president of Paris 2024, in his speech.
Post a Comment