... bloom on, as Shakespeare didn't quite say but might have had he heard Danielle Darrieux sing Les fleurs sont des mots d'amour, one of two numbers she performs in this confection from Continental. Initially she signed for only one movie, Premiere Rendez-vous, directed by her then still husband Henri Decoin, which though not the first Continental movie to be shot (that was L'Assassinat de Pere Noel) was the first to be released. By the time Rendez-vous was in the can Darrieux had left Decoin and was involved with the South American-born International playboy Porfirio Rubirosa, soon to become her second husband and Alfred Greven, the head of Continental, who got top talent to work for a German company during the Occupation where and how he could intimated that should she sign for a further two pictures Senor Rubirosa would be a welcome guest in Occupied France whereas on the other hand ... well, visas were hard to come by and who knows, the senor may find himself en route to Buenos Aires on the first tanker out of Le Havre. Whether means ever justify ends is best left to the philosophers but I for one am grateful that blackmail is such an ugly word because if there's one thing in life I enjoy more than a Danielle Darrieux movie it is three Danielle Darrieux movies. Of the three she finally made for Continental Premiere Rendez-vous is by far the best but Caprices and La Fausse Maitresse are not exactly chopped liver. Here, as the daughter of a circus owner, she gets to perform on a rope, sing the two songs I mentioned, fall for a local rugby player and pretend that it is the bareback rider who has eyes for him, tangle with a bent journalist before Cayatte wraps it up neatly in 85 minutes even. Vintage wine albeit domestic.