7.2/10
295
3 user 4 critic

July 14 (1933)

Quatorze Juillet (original title)
Jean is a young cab driver. Anna, a flower-girl neighbour, is in love with him. But he is still thinking to Pola, who just left him. Jean asks her to the bal. Many events (Pola's come back,... See full summary »

Director:

René Clair

Writer:

René Clair (scenario)
Reviews
1 win. See more awards »

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Cast

Complete credited cast:
Annabella ... Anna
George Rigaud ... Jean
Raymond Cordy ... Jean's Fellow Cabbie
Paul Ollivier Paul Ollivier ... The Tuxedoed Drunk (as Paul Olivier)
Raymond Aimos Raymond Aimos ... Charles
Thomy Bourdelle Thomy Bourdelle ... Fernand, Charles' fellow thief
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Storyline

Jean is a young cab driver. Anna, a flower-girl neighbour, is in love with him. But he is still thinking to Pola, who just left him. Jean asks her to the bal. Many events (Pola's come back, two villains...) will disturb this arising love. Written by Yepok

Plot Summary | Add Synopsis

Genres:

Comedy | Romance

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Details

Country:

France

Language:

French

Release Date:

April 1933 (Japan) See more »

Also Known As:

July 14 See more »

Company Credits

Production Co:

Films Sonores Tobis See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Connections

Referenced in Un compositeur pour le cinéma: Maurice Jaubert (1985) See more »

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User Reviews

 
Roger Ebert's "idiot plot" epitomized
16 May 2019 | by mmtoucanSee all my reviews

Ebert characterized films with "idiot plots" as those "containing problems that would be solved instantly if all the characters were not idiots." Clair seems to love the Parisian types he depicts, though they are barely functional and knee-jerk belligerent. There's never an attempt at resolving a misunderstanding or solving a problem - well, perhaps sometimes, but only as a last resort. And yet Parisian life and love perseveres, and this is Clair's big statement. One that I found aggravating, as the film is overloaded with loud, stupid noise and senseless arguing. Ha Ha. Meanwhile, the thin thread of a romantic plot is overwhelmed by Clair's exaggerated focus on Parisian cultural dysfunction leaving me annoyed and dissatisfied. Clair's drunken millionaire is clearly borrowed from Chaplin's City Lights (1931), and this was made before Modern Times (1936), often cited as being Clair-inspired. Coincidentally, Paul Ollivier, with white hair and a black mustache is the spitting image of Chaplin's stage character in Limelight (1952).


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