A country girl starts to work as a chorus girl in Paris and then finds true love with a good-looking milkman.

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(scenario and dialogue), (decoupage) (as J.G. Auriol) | 1 more credit »
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Cast

Cast overview, first billed only:
Simone Berriau ...
Divine (Ludivine Jarisse)
...
Le Lait (Antonin)
...
Dora
Philippe Hériat ...
Lutuf-Allah
Sylvette Fillacier ...
Gitanette
Paul Azaïs ...
Victor
Catherine Fonteney ...
Mme Jarisse (de la Comédie Française)
Thérèse Dorny ...
La Poison
Jeanne Fusier-Gir ...
Mme. Nicou, Concierge (as Jeanne Fusier Gir)
Jeanne Véniat ...
Mme Martelli
Nane Germon ...
Zaza
Yvette Lebon ...
Roberte
Marcel Vallée ...
Le Directeur
Roger Gaillard ...
Pierre Paul
André Gabriello ...
Coirol (as Gabriello)
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Storyline

A country girl starts to work as a chorus girl in Paris and then finds true love with a good-looking milkman.

Plot Summary | Add Synopsis

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Details

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Release Date:

22 November 1935 (France)  »

Also Known As:

Traficantes de opio  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

| (DVD)

Sound Mix:

Aspect Ratio:

1.37 : 1
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Connections

Edited into Histoire(s) du cinéma: Fatale beauté (1994) See more »

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User Reviews

 
The milkman always calls twice
3 April 2016 | by (Sweden) – See all my reviews

Another neglected and underrated masterpiece by Max Ophuls - it's amazing how even the oldest films by him surprise you with their brilliant camera work, the breakneck direction, the amazing scenography always crowded with picturesque details, the totally convincing environment and the perfect realization of the most impossible plots with amassed complications! - of which this film is the perfect example. The chaos at the theatre is so real, that every detail of the intricacies of every single person - and they are many - is brought to full light and glory in a wonder of minute visualization. Forget Colette and her silly and banal story, this is a feast for the eyes all the way offering even some thriller elements and worrying excitement - the criminal intrigues back stage are no small matter and astoundingly modern - this is the 70s back in the 30s.

To this comes the delightful French charm of the idyllic set-ups both in the country and in the theatre, with those for Ophuls so typically hair-raising moving camera sequences catching up even what no ordinary eye would see in passing. The music is perfect as well, never dominating but always enhancing what is going on. The close-ups, the intimate moments of secrecy and revelations caught almost furtively, the lurid characters, everything combines to a masterpiece of intoxicating brilliance, - but it is the cinematic imagery above all that makes the film, yet another masterpiece by Ophuls definitely worth rediscovering and upgrading.


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