L'amore ha sbagliato indirizzo

I hate to write that but I find it hard to relate to some Autant-Lara's movies.I had the same problem with "Le Marriage De Chiffon" and I hope pretty soon my good pal Writer's reign's comment will join mine and prove me I'm wrong!

A town in the provinces under Napoleon the Third's reign (legions of Autant-Lara take place in the nineteenth century: "Douce" "la Jument Verte" "l"Auberge Rouge ""Le Rouge et le Noir" " le Marriage De Chiffon" or at the beginning of the the twentieth : "Occupe-toi d' Amelie" "Le Diable Au Corps" )There are two social classes :the Society (aristocrats and top-ranking civil servants) and the Shop (minor officials,local tradesmen) .We will attend to-ings and fro-ings among these people , à la Marivaux,or à la Renoir ("Règle du Jeu")

In spite of a top-notch cast (Odette Joyeux,François Périer,Simone Renant),despite dazzling costumes and settings which are a feast for the eye,despite the lancers,a dance which is actually a duel between the two classes,"Lettres D'Amour" fails to excite me.Like "Mariage de Chiffon" ,it's a rehearsal for Autant-Lara 's "Douce " .It's too gentle,too polite,too affected to move me.

I like Autant-Lara when he is rebellious to the end ("Douce" "le Diable Au Corps" "L'Auberge Rouge" "Tu ne tueras point" ),not when he gives a compromise solution.Never Max Ophuls would have indulge himself such an ending where he keeps both parties sweet.

Your turn,Writer.

Of the four films directed between 1942 and 1946 by Claude Autant-Lara and starring Odette Joyeux, the most exalted is 'Douce' and deservedly so but to dismiss the others would do them a great injustice.

This the second in the series and although on the surface it seems pure escapism and rather trivial, beneath the fluffiness runs Autant-Lara's anti-establishment streak and in its depiction of the battle between 'La Boutique' and 'La Société', it is, like many films made during the Occupation, subtly subversive.

In keeping with the tradition of 'cinéma de qualité' the art design by Jacques Krauss and costuming by Christian Dior are ravishing and it is performed with ésprit by a top notch cast bringing their stage experience to bear, notably André Alerme, Louis Salou, Julien Carette, Jean Debucourt and a youthful Francois Périer. This is again a perfect vehicle for the diminuitive but feisty Odette Joyeux who is complemented by the statuesque Simone Renant.

It is well paced, beautifully shot by Mlle Joyeux' future husband, Philippe Agostini and is scripted by the legendary Jean Aurenche who was to team up with Pierre Bost for 'Douce' which marked the beginning of one of the screen's most fruitful writing partnerships, so unfairly disparaged by know-it-all Truffaut.

Watching this elegant and beautifully timed piece reminded this viewer that Autant-Lara was the perfect choice to direct Feydeau's 'Occupe-toi d'Amélie' seven years later.