Innocents in Paris

This delightful and light-hearted film carries on in the tradition of gentle satire established by Mark Twain in his two popular novels 'The Innocents Abroad' and 'The Innocents at Home'. But instead of American 'innocents', this British film portrays British 'innocents', all except for a seasoned diplomat (Alastair Sim) making a first trip to Paris. The film follows the adventures of each character over the course of a weekend. They all fly out on the same plane and return on the same plane. We catch some wonderful glimpses of early performances by people who were later well known. Kenneth Williams is uncredited as someone arranging things beneath a counter in London Airport (not a window dresser, as wrongly described in IMDb), and in one fleeting cameo exchange, he manages to 'be Kenneth Williams' to an astonishing degree with just a few words. The 25 year-old Laurence Harvey, who is credited and not uncredited as claimed on IMDb, wears a tiny little moustache and is a floor waiter in a grand Paris hotel, complete with French accent. Claire Bloom plays an innocent your girl who has been 'saving up for ages' to afford her first weekend trip to Paris. She meets the romantic Claude Dauphin, and they have a weekend affair with numerous comical moments. Margaret Rutherford takes her easel and paints away in quaint streets and haunts the Louvre. She meets a British man who has lived in Paris for 30 years and has painted copies of the Mona Lisa 338 times but never sold one. She ends up being the first person to buy one, bringing ecstatic happiness to them both. There are some wonderful lines in the script. When Margaret Rutherford, who has never taken a plane before, is asked to fasten her seatbelt before takeoff, she answers innocently: 'But I haven't brought one with me.' James Copeland is excellent as a Scot in a kilt who meets a very sweet French shop girl and commences what will turn out to be a lasting romance. There are the usual jokes about his kilt, and the French women laugh at him heartily in the streets and one taunts him because she is wearing trousers and he is wearing a skirt. The film is shot on location in Paris, and it is astonishing to see how empty of traffic it was at that time. You could set up an easel in the middle of a quaint street and no car would come along and bother you for hours. Paris looks simply empty! And that can't just be because they cleared the locations for filming. From this film it is clear that it is not only the British visitors who are the 'innocents', it is the French as well, as very few of them have their own cars, and traffic is essentially nonexistent. Ronald Shiner is very amusing as a soldier who plays the drum in a military band which has travelled from Britain to play 'It's a Long Way to Tipperary', 'Colonel Bogey', and other such tunes on the occasion of the unveiling of a statue of Lord Byron. He becomes entangled with a French woman and when he discovers she has a child whom she can barely support, he gives her all his money. When he is being funny, his broad comedy technique verges on the over-obvious, but is tolerable for the character he plays. There are excellent performances from the French actresses Gaby Bruyère and Monique Gérard. There are some very fine moments in this multi-threaded film, and some genuine pathos along with all the good-natured comedy. It was written by Anatole de Grunwald, who had tremendous experience as a script writer as well as sophistication, so that the stories all work pretty well. Gordon Parry was the director, who two years before had directed TOM BROWN'S SCHOOLDAYS (1951); he died in 1961. This is a very entertaining and light-hearted film which shows a great deal of Paris as it was in 1952, and is also well worth seeing for those who are interested in the British stars of that era.

Unconvincing portmanteau comedy. Sim & Rutherford once again spin gold out of garbage, while the rest of the cast, notably Jimmy Edwards & Ronald Shiner, are defeated by a badly written screenplay. The Scotsman section, with James Copeland, is a good example of a poor performance meeting an inadequate script to produce unmistakable rubbish. Watching these innocents is not bliss!

A fun little adventure with Alastair Sim on form as usual (always watch Sim closely to get the best from his performances). Margaret Rutherford is her usual dippy, wonderful self and a host of other fifties household British names pop up (including Christopher Lee), in this easy to watch little adventure.

Fifty plus years on, it doesn't really matter what the political motivations of the film were, it's an entertaining little story with a beginning, middle and an end.

There's a lot of dross been made since 1953 and this film by no means takes a back seat. Sit back and enjoy.

I saw this on tv years ago but watched it today via new blu ray.

It is good fun and of interest in how it tells its story.

Even for 1953 it is cosy and unrealistic,I did not expect anything else.

But it has a lot of location filming in Paris and it looks great.

As someone obsessed with aviation history I expect they did provide meals on flights to Paris in this period.

Flying was for richer people then and this was before the jet age,the flight would have been longer than it is nowadays.

Passengers would expect food and drink on nearly all flights..

One of the reviews here made me scratch my head.

France famous for poor food produce? Really?

British airliners always crashing? Well we know about the Comet but Britain had a mighty aviation industry in the 1950s.

The French talk about the 30 glorious years of growth and prosperity after WW2.

I never found out exactly which years? 1945-1975? 1948-1978? In any case France recovered from world war 2 thanks to the Marshall plan but also to the hard work of its citizens and due to having an economic plan.

A British romantic comedy, although it occasionally falls short of the ease of more popular humor, overall, it is quite pleasant and harmless entertainment.

Even though it adds nothing to the genre, which was never, in fact, very characteristic of British cinema, which oscillates more easily between vaudeville comedy and passionate drama, these Innocents in Paris has the gift of revealing the beginnings of mass tourism, still very incipient, of mixing a Franco-British cast, where names like Margaret Rutherford, Claire Bloom or Louis de Funés stand out and finally, of revealing itself a little of the innocence of the title, which only suits it well, beeing a romantic comedy.

It won't last in anyone's memory, but it also won't offend the viewer's good taste or intelligence.