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The Woman Who Dared (1944)
"Le ciel est à vous" (original title)

 -  Drama  -  18 March 1949 (USA)
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Ratings: 7.4/10 from 240 users  
Reviews: 4 user | 6 critic

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(adaptation), (dialogue), 1 more credit »
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Complete credited cast:
Madeleine Renaud ...
Thérèse Gauthier
Charles Vanel ...
Pierre Gauthier
Jean Debucourt ...
Raymonde Vernay ...
Madame Brissard
Léonce Corne ...
Le docteur Maulette
Raoul Marco ...
Monsieur Noblet
Albert Rémy ...
Robert Le Fort ...
Anne-Marie Labaye ...
Michel François ...
Gaston Mauger ...
Le successeur du docteur Maulette
Paul Demange ...
Henry Houry ...
Un membre du conseil d'administration
Anne Vandène ...
Lucienne Ivry


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Release Date:

18 March 1949 (USA)  »

Also Known As:

Le ciel est à vous  »

Company Credits

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Technical Specs


Sound Mix:

Aspect Ratio:

1.37 : 1
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User Reviews

Spaak Low
20 July 2004 | by (London, England) – See all my reviews

Charles Spaak is one of those French scenarists - along with Henri Jeanson, Pierre Bost and Jean Aurenche - who tended to be overshadowed by the mighty Jacques Prevert. Any writer who can list La Kermesse heroique, La Belle Equipe and La Grande Illusion on his cv - and those were just a few of his PRIOR credits, post-Ciel they include Remorques and Le Corporal Epingle - would be almost certain to land a job on 'The World Turns' were he alive today. Spaak has delivered a quiet charmer here albeit propaganda fodder for Vichy. Charles Vanel acts out of his skin as Pierre Gauthier (what, one wonders, inspired this choice of name - with its overtones of Theophile Gauthier - for the two lead protagonists) mostly by NOT acting, or not SEEMING to. He is well matched by Madeleine Renaud as Therese, his wife, who, given the somewhat thankless role of role MODEL to French women everywhere, succeeds beyond the wildest dreams of Petain in creating a flesh-and-blood PERSON. Sterling support by Ann Vandene as an amalgam of those early pioneering female pilots and Raymonde Vernay as the mother-in-law from outer Hell make this a film to cherish. It's strength lies in the accumulation of detail and the warmth of the relationships. With a less surer touch than that of Gremillon the subplot involving the daughter, a would-be musical prodigy, could be seen as over-egging the feminist pudding but here it takes its unobtrusive place in the main story of Renaud realizing her potential as a aviatrix. 8/10

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