June 18, 2025

“Thibaut” (Benjamin Lavernhe) is an accomplished conductor who is now based in the USA but who comes home to France now and again to perform. It’s during one such visit that he confides to his sister “Rose” (Mathilde Courcol-Rozés) that he needs a bone-marrow transplant. She readily agrees to help out but when she is found to be incompatible, that news opens quite a can of worms that results in him having to ask “Jimmy” (Pierre Lottin) - a brothe… read the rest.

“Thibaut” (Benjamin Lavernhe) is an accomplished conductor who is now based in the USA but who comes home to France now and again to perform. It’s during one such visit that he confides to his sister “Rose” (Mathilde Courcol-Rozés) that he needs a bone-marrow transplant. She readily agrees to help out but when she is found to be incompatible, that news opens quite a can of worms that results in him having to ask “Jimmy” (Pierre Lottin) - a brother he didn’t know he had and who lives in a quietly dying town where his workplace is earmarked for closure, to help out. Initially uninterested and disbelieving, the film now illustrates just how the two men come to terms with their past, their present and (hopefully) their future against a backdrop of resentment and privilege as they try to reconcile with the elements of “luck of the draw” that have governed their lives thus far. Fortunately, they have one thing in common. They both love music, and as it transpires that “Jimmy” plays trombone in his local mineworkers band we have a conduit for them to bond - or not! There are shades of “Brassed Off” (1996) as this offers us a social commentary on the decline of traditional rural industries that leave little by way of hope or opportunity in it’s wake; a little bit of romance and some seriously horrible uniforms too! Along the way, there is also some fine classical Mozart, some crooning from Charles Aznavour and some enjoyable band rehearsals with an eclectic collection of the townsfolk proving remarkably talented with instrument and voice alike - after a soupçon of guidance. No, there probably isn’t so much jeopardy about the denouement, though there is a twist - it’s really a story about family and one that’s presented without too much sentiment and a bit of enjoyably bloody-minded Gallic humour. I was never quite sure what an orchestral conductor actually did, standing there flailing his baton at a collection of perfectly proficient musicians, but this might just have helped explain a little - and that seating matters too!

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September 1, 2026

Fostering brotherly love isn’t always easy, especially when siblings are different from one another or, even more fundamentally, are unaware of one another’s existence. But that’s precisely what happened to brothers Thibault Desormeaux (Benjamin Lavernhe) and Jimmy Lecocq (Pierre Lottin), on both of the aforementioned counts, when they were separated by adoption at birth. Their discovery of one another comes about when fate plays a hand neither o… read the rest.

Fostering brotherly love isn’t always easy, especially when siblings are different from one another or, even more fundamentally, are unaware of one another’s existence. But that’s precisely what happened to brothers Thibault Desormeaux (Benjamin Lavernhe) and Jimmy Lecocq (Pierre Lottin), on both of the aforementioned counts, when they were separated by adoption at birth. Their discovery of one another comes about when fate plays a hand neither of them saw coming. When Thibault is diagnosed with leukemia, he’s desperately in need of a compatible bone narrow transplant to save his life. He first turns to his sister, Rose (Mathilde Courcol-Rozès), but she turns out to be incompatible, because she’s not his biological sibling. It’s at that point when Thibault learns he’s adopted, a secret that’s been withheld for 37 years. But, after a visit to his physician, Thibeault learns that a compatible donor might well be available from a brother he never knew he had, a discovery revealed through a medical database search. With options limited, Thibault visits his sibling, Jimmy, to explain the situation and seek his help. Needless to say, the blue collar cafeteria kitchen worker is as flummoxed as Thibault when he learns of his heretofore-unknown brother, and he’s not terribly happy about the news. Why was this information kept from him all these years, especially since the brothers are very different and the fact that Thibault apparently got all the breaks in life that Jimmy didn’t (talk about sibling rivalry). However, given the life-or-death nature of Thibault’s circumstances, Jimmy softens enough to relent, leading to a procedure that apparently succeeds and for which his newfound brother is eternally grateful. The relationship is still somewhat tenuous, but that changes, too, when they discover they share a common love – music: Thibault is a world-renowned orchestra conductor, while Jimmy is a virtuoso trombonist in a company-sponsored marching band who just happens to possess perfect pitch. In gratitude for Jimmy saving his life, Thibault wants to help his brother build upon his talents, an understandably kind gesture that, unfortunately, doesn’t always go as well as hoped for. But, if nothing else, this shared interest brings the brothers closer together, setting them up for what they hope is a bright future, one that helps to offset the inequalities of the past and evoke the emerging love between them. But will it? That’s the scenario at the heart of this tender comedy-drama from writer-director Emmanuel Courcol, a release that was a viewer and critically acclaimed box office sensation in the film’s native France. And for good reason – this warm, funny, touching tale makes for great viewing with its fine performances and profound chemistry between the two leads, as well as the contributions of its many colorful supporting characters. It’s also a music lover’s delight, especially with its superb selection of classical works by the likes of Beethoven, Mozart, Verdi, Debussy, and, most notably, Ravel’s *Bolero*. Admittedly, the picture might be seen as having a few too many secondary story threads that aren’t always as fully developed as they might have been, sometimes slowing the pacing and causing the narrative to meander a bit. However, that aside, “The Marching Band” is a crowd-pleasing charmer that’s worth the time (and the cost of the box of tissues you should probably bring with you to the screening). It’s truly gratifying when a movie hits all the right notes, and this one does a masterful job at achieving just that.

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