Madame Sans Gêne

This woman is not embarrassed about anything. ACADEMY AWARD winner Sophia LOREN (she won the award in 1962 for LA CIOCIARA) plays Catherine Hübscher, who was very popular in France and rose from Paris washerwoman to Duchess of Danzig during the Napoleonic years.

The man at LOREN's side is the French actor Robert HOSSEIN. Director Christian-Jaque probably had 6 million FRF at his disposal for his spectacle. There was an enormous film budget at the beginning of the 1960s, which you can see in the film.

And LOREN probably never looked better than in this film. The role of the stunner is practically tailored to the CINECITTA diva.

Fortunately, the television program makers seem to have rediscovered this entertaining historical ham. Good this way!

Those who wish to watch a good early 60s historical entertainment can look for ‘Madame Sans Gêne‘, the 1961 film by Christian-Jaque. The historical character of the laundress in revolutionary Paris who married one of Captain Bonaparte’s sergeants and became a duchess at the court of the Empire was popularized by a play that had already been brought to screen in two famous adaptations, one from the silent film era with Gloria Swanson in the title role, the other starring the sparkling and very popular French cabaret and screen star of the 30s and 40s, Arletty. Why another adaptaation? At least two reasons, I think: the advances in color film that made this version of ‘Madame Sans Gêne‘ visually look like a historical blockbuster, and the presence in the title role of the incomparable Sophia Loren.

Catherine Hubscher (real historical character) began by washing Captain Bonaparte’s underpants in the days when his regiment was making the final assault that would bring down royalty. She falls in love with Sergeant Lefebvre whom she follows, mostly out of jealousy, in the campaigns of Bonaparte, who had become a general. An incident that happens only in the movies (or, if you wish, in theatre plays) makes of the two a little imprudent and a little indifferent to the rules of military discipline lovers the heroes who decide a battle with the Austrians. In a decade we will meet them (raised to the ranks of duke and duchess in the new European order) at the imperial court. Napoleon, now emperor, decides to make Lefebvre king, but the duchess’s foul mouth and rough manners will jeopardize the emperor’s plans and the two’s careers.

Christian-Jaque already had the experience with successful historical cape and sword films, but also with romantic comedies. The two genres meet successfully, being grafted onto the text adapted from the French classic. The reconstruction of the period is done with cinematic tools from the arsenal of historical super-productions of the time, without any savings in period costumes (from uniforms to court ladies’ dresses) or in the number of extras. The dialogues are partly taken from the play and the characters and language humor works unexpectedly well on screen. Sophia Loren shines, with silhouette-flattering gowns and a comical temper that seems hard to contain. It is not easy to be Sophia Loren‘s partner, but Lefebvre is excellently played by Robert Hossein, who was otherwise a complex filmmaker, actor and director, today a little unfairly forgotten. I also liked Julien Bertheau who plays Napoleon, an actor I know less of, who shows real comedic qualities. ‘Madame Sans Gêne‘ is an entertainment of the 60s that after another 60 years still has the quality to captivate and entertain audiences.

So funny so witty

This is glorious French theatre all the way at its best, and of course Sophia Loren is predominantly the shining star that outshines even Napoleon, who nevertheless is very well played by Julien Bertheau, who is especially convincing as the young twerp fooling around with exploding artillery in Paris in August 1792. Christian-Jacques made many historical films and was if anyone an expert of them, and they are all sumptuous and glorious in rendering history alive. The washer-woman Sophia Loren, "Madame Sans-Gêne", meaning the lady who is not ashamed of herself, makes one of her best performances in this thoroughly French film and, as Napoleon admits himself, is the only one who masters him successfully. Since they knew each other well in the gunsmoke of the Paris revolutionary gutters, when it comes to a crisis and Napoleon threatens to dishonour her, forcing her to an involuntary divorce, she recalls the young prig Napoleon of the gutters and finds him rather changed as an emperor, while she hasn't changed at all and still knows how to rebuke him and put him in his place. It's above all glorious theatre, and the historical scenery gives the comedy full justice and a perfect frame. Any admirer of Sophia Loren should never miss this one.

9 out of 10 for me.

Even Sophia Loren's spectacular cleavage cannot sustain interest in this elaborately produced but incomprehensible, unengaging Napoleonic-period mishmash. Scripted by seven (!) different writers - presumably in seven different rooms with no contact with each other at any time. * out of 4.

A very nice film about a washwoman who becomes the wife of an important militairyman during the napoleontic period. Sophia Loren is really sublime in beauty and in acting. It's a forgotten gem.