A MONSTER IN PARIS: No scares as giant flea captures capital with song and dance

A giant flea nurtures a passion for music in Bibo Bergeron’s computer-animated fable that teaches us to never judge a wingless, blood-sucking parasite by its spiny legs or hairy abdomen.

A Monster In Paris puts a colourful, Gallic spin on the classic fairytale of Beauty And The Beast, using the power of song to bring together two characters who are a world (and species) apart.

Themes of tolerance and compassion are loudly addressed so that young audiences will understand the true monsters here are the power-hungry men who feed off the fear and paranoia of the public.

The year is 1910 and Paris has been ravaged by floods, leading to the construction of rickety wooden bridges to allow the citizens to cross the bloated Seine.

Cinema projectionist Emile (Harrington) agrees to help truck driver Raoul (Goldberg) make a delivery to a giant greenhouse owned by a scientist.

Raoul forces his way inside and begins fooling around with test tubes of strange liquid. There is a massive explosion and the resulting cloud of gases causes a flea to mutate to hulking proportions.

The insect bounds across the city until it finds an unlikely ally and musical companion in cabaret chanteuse Lucille (Vanessa Paradis) at the L’Oiseau Rare nightclub.

Together, Lucille and the heavily disguised insect, who is christened Franc (Lennon), become the talk of the French capital with their infectious renditions.

When bumbling police commissioner Maynott (Huston), who hopes to win Lucille’s affections, discovers his rival is a monstrous insect, he decides to secure his re-election by slaying the beast.

A Monster In Paris is an effervescent and entertaining confection that makes use of the 3D format in the action sequences.

Vocal performances are solid and the film really sparks to life when Franc grabs a guitar to provide musical accompaniment for Lucille’s ditties.

The flea got Glee.