Of the four films directed between 1942 and 1946 by Claude Autant-Lara and starring Odette Joyeux, the most exalted is 'Douce' and deservedly so but to dismiss the others would do them a great injustice.
This the second in the series and although on the surface it seems pure escapism and rather trivial, beneath the fluffiness runs Autant-Lara's anti-establishment streak and in its depiction of the battle between 'La Boutique' and 'La Société', it is, like many films made during the Occupation, subtly subversive.
In keeping with the tradition of 'cinéma de qualité' the art design by Jacques Krauss and costuming by Christian Dior are ravishing and it is performed with ésprit by a top notch cast bringing their stage experience to bear, notably André Alerme, Louis Salou, Julien Carette, Jean Debucourt and a youthful Francois Périer. This is again a perfect vehicle for the diminuitive but feisty Odette Joyeux who is complemented by the statuesque Simone Renant.
It is well paced, beautifully shot by Mlle Joyeux' future husband, Philippe Agostini and is scripted by the legendary Jean Aurenche who was to team up with Pierre Bost for 'Douce' which marked the beginning of one of the screen's most fruitful writing partnerships, so unfairly disparaged by know-it-all Truffaut.
Watching this elegant and beautifully timed piece reminded this viewer that Autant-Lara was the perfect choice to direct Feydeau's 'Occupe-toi d'Amélie' seven years later.
This the second in the series and although on the surface it seems pure escapism and rather trivial, beneath the fluffiness runs Autant-Lara's anti-establishment streak and in its depiction of the battle between 'La Boutique' and 'La Société', it is, like many films made during the Occupation, subtly subversive.
In keeping with the tradition of 'cinéma de qualité' the art design by Jacques Krauss and costuming by Christian Dior are ravishing and it is performed with ésprit by a top notch cast bringing their stage experience to bear, notably André Alerme, Louis Salou, Julien Carette, Jean Debucourt and a youthful Francois Périer. This is again a perfect vehicle for the diminuitive but feisty Odette Joyeux who is complemented by the statuesque Simone Renant.
It is well paced, beautifully shot by Mlle Joyeux' future husband, Philippe Agostini and is scripted by the legendary Jean Aurenche who was to team up with Pierre Bost for 'Douce' which marked the beginning of one of the screen's most fruitful writing partnerships, so unfairly disparaged by know-it-all Truffaut.
Watching this elegant and beautifully timed piece reminded this viewer that Autant-Lara was the perfect choice to direct Feydeau's 'Occupe-toi d'Amélie' seven years later.