En français... Messieurs!

"French Without Tears" is a very funny British comedy and satire set in Paris in the mid-1930s. Released in early 1940, it has nothing about WW II that began officially in Oct. 1939. Another reviewer gave some interesting background about when the movie theaters were reopened after being closed at the start of the war. The film is based on a 1936 play by Terence Rattigan that was a big hit in London and then in the U. S. Rex Harrison starred in the play. All the actors in the film are very good.

The story is about young men enrolled and living in Professor Maingot's French language school for English gentlemen. They are businessmen, scholars and others who are there to learn French in a cram course. But studying at Maingot's Villa Miramar soon takes a back seat when student Kenneth Lake's sister, Diana, comes to visit.

Ellen Drew plays the flirtatious Diana superbly. She immediately wraps two of the young men around her finger. David Tree plays the puppy-dog smitten Chris Neilan, much to the dismay of Jacqueline Maingot. She is the professor's daughter who is in love with Chris. The other is Brian Curtis, played by Guy Middleton, who's more of a ladies man than a businessman.

The new student arrival, British Navy Commander Bill Rogers, soon falls under Diana's spell. Roland Culver plays the snobby, stuffed shirt seaman perfectly. And, Diana has little trouble also wrapping him around her finger. When the alluring Diana asks if the ship picture on the wall was of his "boat," Rogers swallows hard, smiles and acknowledges that it is a picture of his "boat."

Only one of the adult male students isn't taken in by the wily and sly - but admittedly very attractive and alluring Diana. Ray Milland plays Alan Howard delightfully. Perhaps his reluctance and guard were raised because he had to give up his private room for the new guest. His bed is now a cot in Brian's room.

The plot has several scenarios with Diana and her different men. Chris and Bill nearly come to blows over the blonde temptress. Amidst all this, Alan gets barbs in right and left for good laughs. While one might imagine what the outcome of this love pentagon might be, the ending is a real hoot.

This may be the best picture of an obvious flirt ever put on film. But it's done sans any immoral behavior in line with the mores of the day. And it has the trappings of wonderful satire and some very funny comedy overall.

The film has something of an historical musical note. It's the only feature film in which famous composer and orchestra leader Mantovani appears. He is in the carnival scene toward the end where he plays his violin and leads his orchestra. Mantovani provided all the music for the film, which included a very apropos and funny, short violin music background each time that Diana enters the picture. After this happens two or three times, it becomes quite noticeable as an intended little extra bit of humor.

Prior to World War II, Mantovani's orchestra was the most popular musical entertainment in England. His trademark style with cascading strings was especially effective with romantic songs. By the late 20th century, The Beatles would become Great Britain's famous musical group. But before the 1960s, Mantovani was the first musical performer in the U. K. to sell more than one million stereo albums. And, in 1959, his was the first to have six albums in the U. S. Top 30 at the same time.

This is a wonderful, very funny movie with lots of light satire. While there's nothing that would make it unsuitable for all ages, it will be most appreciated by mature audiences, especially those who enjoy cloaked comedy and clever lines.

The film is loaded with humorous dialog. Here are some favorite lines. For more, see the Quotes section under this IMDb Web page of the film.

Prof. Maingot, "Monsieur Howard, please answer the phone. I am busy with a poor young idiot."

Diana Lake, "But aren't you going to protect me?" Alan Howard, "Protect you? Protect Brian, you mean."

Cmdr. Bill Rogers, "Oh, is she learning French too?" Alan, "Uh, no. She just stopped us from doing it."

Commander, "Uh, what you're implying is that this girl is, uh, rather fast?" Alan, "Well, I'm not implying it, I'm saying it."

Commander, "How do you do." Diana, "Oh, I had no idea you were arriving this morning." Alan, "Hadn't you? You asked me what train he was coming by."

Alan, "She loves getting innocent young men into cold water." Commander, "Well, personally, I rather like an early morning dip." Alan, "An early morning dip?"

Alan, "I bet you didn't go in the water."... Diana, "Yes, I did. Ask Chris."

Alan, "Uh, Chris, did Diana go into the water? Chris, "No, why?" Diana, "Why, Chris." Alan, "Chris! You of all people - an early morning dipper."

Alan, to Chris, "Why, I believe this girl could make you go for a bicycle tour in the Pyrenees, if she set her mind to it." Commander, "I once went for a bicycle tour in the Pyrenees." Alan, "Really?"

Diana, "What did you mean by hanky-panky?" Alan, "I should tell you?"

Diana, "Allen, much as I like you, there are times when I could cheerfully strangle you." Allan, "Is this one of them, darling?" Diana, "Yes, Ducky, it is." Allan, "That's just what I'd hoped."

Diana, "Well, he's really very nice, but you mustn't take everything he says too seriously, because you see, he's just a teeny bit, you know, unbalanced," pointing to her head.

Diana, "But if he tries to give you the impression that I'm a scheming wrecker of men's lives, you needn't necessarily believe him."

Diana, "But cruelty is something that's physically impossible for me."

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. His dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'French Without Tears' (Rattigan's first successful play) is not my favourite of Rattigan's plays, or one of them. Do prefer 'The Winslow Boy', 'Separate Tables' and particularly 'The Browning Version' myself. Despite the story being flimsier than those three, and it doesn't lend itself as well to more cinematic film adaptations, faring much better to me with a live audience, the light as soufflé and mostly quite sophisticated comedy and the meat of the writing and characterisation still remains.

While not one of the best film adaptations of Terence Rattigan about, this 'French Without Tears' is a highly enjoyable and criminally underseen version of the play. Is the story fluffy and on the flimsy side? Sure, but it is also one of the more accessible stories of Rattigan's work subject matter-wise. Is it old fashioned? In a way, though modern audiences probably would get into it easily knowing what to expect. Does 'French Without Tears' work better on stage with a live audience? To me it does. Does that mean that it doesn't work at all as a film? Of course not, but other Rattigan plays fare better on cinematic terms, judging from director Anthony Asquith's later Rattigan film adaptations 'The Browning Version' and 'The Winslow Boy' (both even better) for example.

This film of 'French Without Tears' looks lovely, with suitably intimate and beautifully composed photography and sumptuous costumes and sets. The star in this regard is David Lean's (yes that David Lean, before he went on to even greater things) editing, especially in the carnival scene. The music is energetic and is pleasantly orchestrated.

Furthermore, the script does capture the play's wit and zest, not all but for stage-to-film translations enough of it does do, Rattigan's gift for light humour, writing that provokes thought and a darkly painful side, which brings complexity and dimension to the subject matter, and his attention to meaty characterisation still shines, even if the story still feels flimsy, the humour sparkling and as light as a souflee and other parts are very sophisticated.

Charm, heart and zest is all over 'French Without Tears', which flies by and while it is a very short film (just over an hour) one wishes a little when it's over that there was more. The highlight is the drunk scene which is hilarious. Asquith does a great job directing, very assured while understanding the intimacy of the relationship between dialogue, camera and acting.

Of the splendid cast, Ray Milland and Roland Culver, both on very natural, sparkling form, are the standouts. Ellen Drew is very charming, one can totally see what the characters see in her.

In summation, hugely enjoyable and should be made available on DVD. 8/10 Bethany Cox

This amiable Ratigan Farce is based on Ratigans' own experiences in a French tuition school in Normandy.It was brought to the stage in London featuring Rex Harrison,Trevor Howard,Kay Hammond and Roland Culver.It was purchased by Paramount initially as a vehicle for Marlene Dietrich!However they decided that the featured actors,Culver apart,were not sufficient box office and replaced them.Whilst Ray Milland is quite enjoyable as the main lead one can only conjecture what the film could have been if Harrison had reprised his role for the screen.I saw the original 86 minute version at the Museum of London in 1983.I have just seen the American version which is some 20 minutes shorter.I cannot remember what is missing.A number of matters of interest.Mantovanni is featured in the party scene.The release of this film coincided with the outbreak of war,when all places of entertainment were closed.The director was "Puffin"Asquith,the son of the World war 1 PM.His mother used her influence with cabinet Ministers to get the cinemas reopened,according to the biography of David Lean.Lean was the editor on this film.Cinemas reopened 3 days later and the film was a success at the box office.

Why didn't Terence Rattigan write more comedies? He was much better at that than at serious drama, which didn't always strike home, but a comedy like this one is an ace in the genre, with brilliant dialogue, hilarious characters, sophisticated irony and irresistible charm. Ray Milland here is very close to Cary Grant and could surely have made more parts like this and even compete with his countryman, and Roland Culver in probably his best part ever is an outrageously likeable caricature of a very square naval officer. All the others are perfect as well, having some difficulty as very English dandies to get along in France with a very strict French professor, the best caricature of them all, like a double of Emil Jannings in "The Blue Angel" but funnier and more French. Add to this the eloquent and intelligent touch of Anthony Asquith's direction, and you''ll find there was something to those blasphemous suggestions that Asquith was a more accomplished director than Hitchcock. They certainly complement each other, and Asquith was more elegant and intelligent, while Hitchcock was more effective. Anyway, this comedy is a must and a classic, setting something of a paragon example for the great era of English comedies usually starring Alec Guinness, and they were many and all exceptionally good. I saw this one more than 50 years ago, but I had no memory it was that immensely good. What a positively delightful surprise of an old acquaintance!

I am using the term 'fey' to describe a film whose time may have passed and which will seem to many outdated in 2012. I don't feel the premise is workable or practical nowadays, and there are few of us left who will appreciate the subtleties and tenor of either the script or the storyline.

Here it is in a nutshell; There are five students at a school for French-speaking located somewhere in France. One is a boy and the others are English gentlemen, two middle-aged and two approaching middle-age. For some reason, the sister of the boy comes for an extended visit. She (Ellen Drew) is a knockout, and all fall head over heels for her and make fools of themselves, trying to outdo one another in various situations. There is some humorous dialogue sprinkled throughout as well as some pratfalls and slapstick that are telegraphed and obvious.

Ray Milland is very appealing and tries to stay above it all, and in one scene Roland Culver does one of the best impersonations of a drunk as has ever been on the screen, Arthur Housman and Jack Norton notwithstanding. The picture strives to be likable, and I did like it, being an old-fashioned sort of guy.

I compromised and rated it a six; Five for today's audiences and seven for those of us with long, seasoned memories.