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Monsieur Beaucaire (1946)

A bumbling barber in the court of King Louis XV becomes engaged in political intrigue when he masquerades as a dashing nobleman engaged to the princess of Spain.

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Cast

Complete credited cast:
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...
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Duc le Chandre
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Princess Maria of Spain
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Count D'Armand
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Don Francisco
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...
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Mme. Pompadour
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Don Carlos
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The Duenna
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Rene
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Storyline

Beaucaire is a barber for the Royal French court who becomes a real "royal pain" for the king. As a result he is sent to the guillotine - however he is saved by the Duc de Chandre, who rescues and transports him to the Spanish court. While there Beaucaire poses as a noblesman. The only problem is, he gets into even more trouble. Written by Kelly

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Details

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Release Date:

4 September 1946 (USA)  »

Also Known As:

Den tapre barber  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on April 14, 1947 with Bob Hope reprising his film role. See more »

Goofs

The King of Spain cannot be Philip II, since he died in 1598. See more »

Quotes

Mimi: Oh, you're so right. One look is enough.
Monsieur Beaucaire: That regal forehead runs in the family.
Mimi: The Hapsburg chin!
Monsieur Beaucaire: Got that from my mother.
Mimi: The Bourbon nose!
Monsieur Beaucaire: Got that from my father, drank like a fish!
Mimi: Those dark, flashing eyes - that soft lustrous hair!
Monsieur Beaucaire: You should see it after a rinse!
See more »

Connections

Version of Matinee Theatre: Monsieur Beaucaire (1958) See more »

Soundtracks

We'll Drink Every Drop in the Shop
Written by Jay Livingston and Ray Evans
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User Reviews

 
Very funny, albeit the plot has scant resemblance to the original.
21 November 2002 | by (Mountain Mesa, California) – See all my reviews

A "costume comedy" of the sort occasionally essayed by Bob Hope, this "version" of the Booth Tarkington novel is meant as a pastiche of the 1924 Rudolph Valentino film, but the one-liner master extraordinaire and his favourite scriptors, Melvin Frank and Norman Panama, can not resist going their own way, and a comically winning tangent it is. Splendidly directed by George Marshall, with top-flight cinematography and editing by Lionel Lindon and Arthur Schmidt, respectively, the action unfolds in the royal courts of 18th century France and Spain, nations on the verge of war. As the barber for King Louis XV (Reginald Owen), Beaucaire (Hope) finds himself in a situation where he must impersonate a nobleman, the Duc Le Chandre, or lose his head, whereas in the Tarkington original his impersonation is clearly of his own choosing. Meantime, in Madrid, conniving Don Francisco, commander-in-chief of the Spanish army, desires to prevent the upcoming marriage of the actual Le Chandre (Patric Knowles) with Spanish Princess Maria (Margaret Lindsay), by assassination if necessary, in order to destabilize the crown, leading to armed hostilities between the neighbouring countries and an opportunity for him to organize a coup. The false Duke, Beaucaire, becomes the prospective victim of this homicidal chicanery and we view him at his wedding ceremony where desperate measures must be taken to avoid being captured and then killed in quick succession. Hope's gags are beyond counting, some of them quite funny and all featuring his perfect timing, and a scene at the Spanish court that satirizes the use of the lorgnette by the nobility is classic, while there is pulchritude galore with three excellent actresses: Joan Caulfield as Beaucaire's true love Mimi, Hillary Brooke as Mme. Pompadour, and the lovely Lindsay, given her first role since Paramount picked up her contract. Also to be commended for their sharp performances in this fast-moving frolic are the swashbuckling Knowles, Schildkraut, Owen, Cecil Kellaway and Constance Collier, while Hope is supported for the first time by songs from Ray Evans and Jay Livingston, contributors to 11 subsequent films by the comedian, whose work here was Woody Allen's inspiration for the latter's LOVE AND DEATH.


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