With its unique concept in Paris of all-premium cinemas, the opening of Pathé Parnasse on Wednesday December 14 is a real event and Satellifacts couldn't resist testing this cinema during the very first screening, at 2:40 p.m. in one of the rooms, room 3, where the (magnificent) film by Marie Kreutzer, Corsage was screened (Avatar, which is shown here in two rooms, was also an option, but Satellifacts has already had the chance to see this film in press screening at Beaugrenelle).
From December 14 (Satellifacts, December 12), the Gaumont Parnasse, which previously included 4 rooms on rue d'Odessa, 3 rooms at the Gare Montparnasse metro exit and 12 rooms at its main site, now distinguishes between these 3 sites, respectively under the name of Gaumont Montparnos, Le Miramar and Pathé Parnasse, the latter reopening after 4 months of work with all "Premium" rooms renovated with screen and projector replaced and new seats. The price of "Premium" seats is 4 euros higher, for all formulas (minus for children, students and schoolchildren).
Very comfortable armchairs, but…
Though the facade of the cinema is still hidden by a huge panel adorned with an Avatar poster and the notice, "We are renovating the facade of the new Pathé Parnasse," the entrance hall is, however, completely renovated, with large self-service spaces and self-payment for drinks and other small treats, ticket vending machines and automatic entrance gates. The staff, very welcoming, is widely present to explain the concept to the visitors.
But the main attraction is obviously in the rooms. For this first session, there were 16 viewers and 48 free places, an honorable score for a weekday afternoon after 4 months of closure for this cinema. What can be said except that, "the room is magnificent" like the Dolby Cinema room at the Pathé Beaugrenelle, with a space of almost 2 meters between 2 rows, these large armchairs and even reclining seats in the first row (which do not exist at Beaugrenelle). These armchairs, in velvet-like fabric (leather-like at Beaugrenelle) are very comfortable. Contrary to those at Beaugrenelle, the adjustment is independent for the angle of the backrest and the support for the legs and that is a very good thing because one can be semi-reclining, but also keep the feet on the ground(!). The inclination seemed to us a little lower than at Beaugrenelle, but quite sufficient. The projection conditions, image and sound, are simply perfect. Note that only the (very large) room 1 is Atmos certified.
There was one issue that viewers found very annoying (others echoed this with the staff), the light from the control panel of each seat, really unnecessarily bright and diverted attention away from the screen. This is a point that will have to be corrected, but it should not be too complicated. Another annoying issue, during this first session, was the freezing temperature in the room, which several viewers complained about. But this is probably already fixed.
And the price, will it pass?
In the end, a very good experience which will likely induce viewers to visit this cinema more frequently. There remains the question of price with the increase of €4 for each session, assumed by Pathé. For Satellifacts, the quality/price ratio is excellent because it is a whole new experience that the viewer can enjoy here. At €18.50, the ticket is unquestionably a lot of money for a cinema session, but we believe that this cinema will certainly find its market in Paris. Bought by 5, the tickets are cheaper (12.80 €) and that the supplement of 4 € is significant, but limited for the owners of the subscription Le Pass. Pathé should have the foresight to offer again an unlimited subscription formula integrating technological supplements, as was the case originally. A little more expensive, of course.
Joel Wirsztel