Three narrators (French writer Jean Martin, an English royal equerry, and a papal chamberlain) tell the story of seven matched pearls, four of them now in the British Crown. Episodes whirl ... See full summary »
Shavian social satire. Odette is an actress who's now the mistress of a government minister. Her household of cook, maid, and chauffeur needs a valet. On the eve of going with the minister ... See full summary »
The battle of the sexes as drawing room social satire. Philippe, a middle-aged newspaper editor, has lived for six years with Paulette, a successful stage actress. He tells her friend ... See full summary »
Those five are unemployed penniless workers. Together they win 100,000 Francs with the national lottery. Instead of sharing the money, they buy a ruin and build an open-air cafe. But ... See full summary »
A wanted gangster is both king and prisoner of the Casbah. He is protected from arrest by his friends, but is torn by his desire for freedom outside. A visiting Parisian beauty may just tempt his fate.
Jenny Lamour wants to succeed in music hall. Her husband and accompanist is Maurice Martineau, a nice but jealous guy. When he knew Jenny is making eyes at Brignon, an old businessman, in ... See full summary »
A charismatic thief makes friends with a bankrupt baron who comes to live in the thief's slum. Meanwhile the thief seeks the love of a young woman, who is held emotionally captive by her slumlord family.
In one sense, it is the typical boulevard comedy of the late nineteenth and early twentieth centuries: the story of a man who seduces another man's wife away from him and then finds a way of getting him out of the picture. That goes back at least to Molière, and probably before. Granted, the three actors involved, Guitry as the seducer, Raimu as the husband, and Pauline Delubac as the ravishingly beautiful and beautifully clever wife, play these stereotypical roles as well as they have ever been played. And Guitry's dialogue has some magnificent lines. But the situation is not new or remarkable.
What is remarkable, however, is the delivery of the dialogue, especially by Guitry. Raimu takes his lines with the pace of a southerner, exaggerated and funny. Delubac delivers hers with astounding wit and charm. But Guitry delivers his, which after all he wrote for himself and performed nightly in the theater before making the movie, at an astounding speed. Astounding, because he also delivers them with the utmost clarity. They go flying by at a speed that would put Katherine Hepburn in "Bringing up baby" to shame, and yet you don't miss one of them. It is, among other things, a remarkable lesson in theatrical diction.
There are plenty of great lines to keep you laughing. But don't overlook the fact that you catch them all even when they are delivered at a sometimes astounding speed.
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