Why It’s Easier Than You Think to Score a Coveted Table When Visiting Paris for the Olympics - Kanebridge News
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Why It’s Easier Than You Think to Score a Coveted Table When Visiting Paris for the Olympics

By SHIVANI VORA
Sat, Jun 22, 2024 7:00amGrey Clock 4 min

Savvy travellers who plan their trips around dining at their destination’s most in-demand restaurants know that securing a reservation at a top Paris eatery isn’t an easy proposition on any given day.

Come the Olympics in July, when the city is flooded with tourists, one would expect the jockey sport to snag a table to be that much more intense. But that’s not necessarily shaping up to be the case. As of mid-May, Parisian insiders such as hotel managers, restaurant owners, and local luxury concierges reported that inquiries at sought-after spots were no higher than usual, foretelling a potential opportunity for visitors looking for a fine-dining experience during the games.

The time to book falls over the next few weeks given that many top spots don’t take reservations until one month before the dining date.

The Michelin-starred Jean Imbert Au Plaza Athenee and Le Relais Plaza, both at Hotel Plaza Athenee and helmed by the renowned French chef Jean Imbert, are two examples.

Francois Delahaye, the COO of the Dorchester Collection, a hospitality company that includes the Plaza Athenee and a second Paris property, Le Meurice, says that his regular guests who are visiting for the games and Parisians who frequent the restaurants know not to call too far in advance of when they want to dine.

Further, he doesn’t foresee reservations being a challenge at either venue or at Le Meurice’s two-Michelin-starred Restaurant Le Meurice Alain Ducasse.

“Booking for the restaurants won’t be an issue because people are planning meals at the last minute,” Delahaye says. “Also, the people who are in Paris specifically for the Olympics are here for the games, not to eat at restaurants. They’re not the big-spending clientele that we usually get.”

Delahaye doesn’t expect the kinds of peak crowds that descend on fine dining during Fashion Week each spring and autumn, for example, when trying to land a seat at the three eateries is nearly impossible. “People are fighting to get in,” he says. “You need to book through your hotel’s concierge, have an inside source, or be a hotel or restaurant regular.”

Several Paris luxury concierge companies echoed Delahaye’s perspective

Manuel de Croutte, the founder of Exclusive & Private, says that Paris regulars probably aren’t planning a trip when the Olympics transpire—from July 26 to Aug. 11—because they want to avoid the tourist rush. “We’ve gotten some reservation requests from people who’ve heard about us but not nearly as many as we usually get when the very wealthy travellers are here,” he says.

During peak periods like the French Open or Fashion Week, de Croutte says that his job entails making bookings for travellers who don’t have any other way to get into buzzy or Michelin-starred establishments.

“You’re unlikely to get a table at a see-and-be-seen place without knowing someone,” de Croutte says. “No one picks up the phone or answers email.” He says his team has established relationships with managers and owners of many of the hot spots in Paris and often visits them in person to land tables.

Exclusive & Private’s Black Book of Paris restaurant recommendations for Olympic visitors span a broad range, from casual bistros to fine-dining.

Michelin eateries include the three-star Le Gabriel at La Reserve, the two-star Le Clarence near the Champs-Elysee, and the two-star Le Taillevent.

Spots without a Michelin star but equally notable are also on de Croutte’s list: L’ Ami Jean offers traditional and flavourful southwestern French cuisine, Allard is a brasserie from Alain Ducasse, and Laurent serves French food to a fashionable set.

“My favourite neighbourhood for restaurants is Saint Germain de Pres,” de Croutte says. “You’ll find unassuming but chic names with excellent food and a great vibe. You can book with these places directly if you’re here for the Olympics, but don’t wait until the last minute because they will get filled.”

He also cautions that some Paris eateries are asking for nonrefundable prepayments for reservations during the Olympics.

“Be sure you want to go before committing and ask about the refund policy if you are charged,” he says.

Stephanie Boutet-Fajol, the founder of Sacrebleu Paris, says her bespoke travel company charges a lump sum of about US$750 to make all the restaurant bookings for the Olympic period, though the price varies depending on the dates and the number of restaurants that a client requests. “Reservations around the closing ceremony are harder to come by because that’s when more elite travelers are coming to Paris and want the chic restaurants that are always difficult to get a table at,” she says.

Meanwhile, chefs at some Michelin-starred restaurants share that they have tables available during the Olympics and welcome travellers to their establishments.

Thibaut Spiwack, for one, behind the Michelin-starred Anona, serving modern French cuisine, and the culinary consultant for the popular Netflix series Emily in Paris , says that he is open for reservations.

“My team and I look forward to sharing a culinary experience with new clientele that I hope will remain in their memory,” he says.

Spiwack suggests that travellers check out other worthwhile restaurants where he himself dines. For terrific wine, there’s Lava, and for Italian, he likes Epoca where the pastas are “divine.” Janine is the best bistro in town, and Prima wins for a pizza fix, he says.

“You have a lot of restaurants in Paris to pick from,” Spiwack says. “You just need to determine where you want to go, and book as soon as you can.”



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Rachel Zegler and Gal Gadot star in an awkward live-action attempt to modernize the 1937 animated classic.

By Kyle Smith
Thu, Mar 20, 2025 3 min
Even in Hollywood, pre-eminent in the field of chutzpah, greatness can be intimidating. Rarely does one hear producers discuss their plans to remake “Casablanca” or “Lawrence of Arabia.” It took Disney many years of creating live-action remakes of its classic animated features before it worked up the nerve to take another whack at its first, and perhaps most venerated, work, “Snow White and the Seven Dwarfs,” which in 1937 set the template for richly evocative animation that could appeal to all ages. It is still, in inflation-adjusted dollars, the 10th-highest-grossing movie ever released in North America.

Disney’s first “Snow White” isn’t perfect—the prince is badly underwritten and doesn’t even get a name—but it is, by turns, enchanting, scary and moving. Version 2.0, starring Rachel Zegler in the title role and Gal Gadot as her nefarious stepmother, has been in the works since 2016 and already feels like it’s from a bygone era. After fans seemed grumpy about the rumored storyline and the casting of Ms. Zegler, Disney became bashful about releasing it last March and ordered reshoots to make everyone happy. Unfortunately, the story is so dopey it made me sleepy.

Directed by Marc Webb (“The Amazing Spider-Man” with Andrew Garfield ), the remake is neither a clever reimagining (like “The Jungle Book” and “Pete’s Dragon,” both from 2016) nor a faithful retelling (like 2017’s “Beauty and the Beast”), but rather an ungainly attempt at modernization. The songs “I’m Wishing” and “Someday My Prince Will Come” have been cut; the big what-she-wants number near the outset is called “Waiting on a Wish.” Instead of longing for true love (=fairy tale), Snow White hopes to sharpen her leadership skills (=M.B.A. program). And she keeps talking about a more equitable distribution of wealth in the kingdom she is destined to rule after her mother, the queen, dies and her father, having made a questionable choice for his second spouse, goes missing.

Ms. Gadot, giving it her all, is serviceable as the wicked stepmother. But she doesn’t bring a lot of wit to the role, and the script, by Erin Cressida Wilson , does very little to help. Her hello-I’m-evil number, “All Is Fair,” is meant to be the film’s comic showstopper but it’s barely a showslower, a wan imitation of “Gaston” from “Beauty and the Beast” or “Poor Unfortunate Souls” from “The Little Mermaid.” The original songs, from the songwriting team of Benj Pasek and Justin Paul (“La La Land”), also stack up poorly against the three tunes carried over from the original “Snow White,” each of which has been changed from a sweet bonbon into high-energy, low-impact cruise-ship entertainment. So unimaginative is the staging of the numbers that it suggests such straight-to-Disney+ features as 2019’s “Lady and the Tramp.”

After escaping a plot to kill her, Snow White becomes friends with a digital panoply of woodland animals and with the Seven Dwarfs, who instead of being played by actors are also digital creations. The warmth of the original animation is totally absent here; the tiny miners look like slightly creepy garden gnomes, except for Dopey, who looks like Alfred E. Neuman . As for the prince, there isn’t one; the love interest, Jonathan (a forgettable Andrew Burnap ), is a direct lift of the rogue-thief Flynn Rider , from 2010’s “Tangled,” plus some Robin Hood stylings. His sour, sarcastic tribute to the heroine, “Princess Problems,” is the worst Snow White number since the one with Rob Lowe at the 1989 Oscars.

Ms. Zegler isn’t the chief problem with the movie, but as in her debut role, Maria in Steven Spielberg’s remake of “West Side Story,” she has a tendency to seem bland and blank, leaving the emotional depths of her character unexplored even as she nearly dies twice. Gloss prevails over heart in nearly every scene, and plot beats feel contrived. She and Jonathan seem to have no interest in one another until, suddenly, they do; and when he and his band of thieves escape from a dungeon, they do so simply by yanking their iron chains out of the walls. Everything comes too easily and nothing generates much feeling. When interrogated by the evil queen, who wants to know what happened to her stepdaughter, Jonathan replies, “Snow who?” Which would be an understandable reaction to the movie. “Snow White” is the fairest of them all, in the sense that fair can mean mediocre.