Karl Anton was born in Prague and made the majority of his films in German and for all I know they were quite distinguished but you can't prove it from this effort; I'm guessing it was a creaky operetta when it was written for the stage and by the time it got to the screen it was seriously arthritic; on the other hand there are three reasons to see it: Arletty! Arletty! Arletty!, three and a half if you include Jean Boyer, who was associated with Arletty on five of her early films including La Chaleur du sein and Bolero. For an operetta the singing is pretty ho-hum but I suppose we have to remember that this was Depression fodder intended to provide escapism for the masses but it's difficult not to compare it with similar output from Hollywood around the same time so that compared with, for example, 42nd Street this one is a bad nowhere. For reasons best known to the producers Arletty at one point takes a bath in the fountain of Place Concorde: no, not really, it just seems that way from the number of people who keep turning up, possibly thinking they're extras in a Marx Brothers movie. See it for Arletty by all means but leave it at that.
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writers_reign30 March 2008
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lchadbou-326-2659226 February 2021The French are known for many things but with the exception of Jacques Demy, making memorable musical films is not one of them. This early 30s operetta is a rare example.It boasts eleven different tunes only three of which are repeated, unlike certain musicals which just have two or three melodies which are used over and over. Even though not actually directed by a Frenchman it benefits considerably from the amusing lyrics by the talented Jean Boyer Yes it has early Arletty but the leads Meg Lemmonier and Henri Garat are quite charming and the standout performance in my opinion is from Dranem as the philosophical chauffeur who lands up doing a kind of gay scene with Garat when the two share a meal that was meant by Garat for Lemmonier. The complications culminate in a Venetian style masked ball in a hotel where guests take off their masks to reveal their identities. So don't be put off by the sourpuss comments of the other reviewers, and try to find this one.
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dbdumonteil26 March 2008This film has an American title ("Christmas Eve") for it was -which was rare in the French early thirties- a Paramount production.Like all those first talkies,it was nothing but filmed stage production style.Adapted from an operetta ,which means that you can hear a song every five minutes;these songs have become unbearable,at least to my ears,but there's no accounting for taste.
The story: a lady killer meets "Un Soir de Reveillon" an innocent young thing -much smarter than he thought- .He wants her to become his mistress and he buys for her a town house.But this desirable property belongs to the girl's daddy.
The film would be stodgy and unwatchable if it were not for Arletty in a supporting part.Jean Boyer ,the writer,who came up with one or two good lines ,would work later with Arletty with much better results ("Circonstances Attenuantes") and a much better song ("Comme De Bien Entendu").
Fortunately,Arletty is often on the screen ,and the two best scenes belong to her:
-The very first scene (her voice is the first sound you hear,which is enough to be elated)when she decorates the Christmas tree with her English lover ,then breaks into " Il Est Né Le Divin Infant " before joining her bunch of revelers .
-The scene in her bathroom which is by far the best in the whole movie:the door seems open to every Tom,Dick and Harry.