After being dazzled by No Exit (1954-also reviewed),I decided to check what other titles from auteur film maker Jacqueline Audry I had left to watch. Finding that there were just two movies remaining,I got set to uncover the secret.
View on the film:
The only one out of the five current subtitled films from her credits that was shot in colour, directing auteur Jacqueline Audry lights her distinctive eye for Costume Drama period detail, with a chocolate box shimmering ultra-stylisation.
Audry unveils long, refined panning shots over the bursting with colour flowing dresses of Catherine II, with the walls of the castles being lined in sparkling ruby red.
Having to keep her real identity under wraps, Andree Debar makes her final performance one that sparkles as Genevieve / Charles, with the femininity she displays when away from the eyes of royalty as Genevieve,being a aspect which Debar subtly stretches out into a more withdrawn, masculine direction, whilst real life couple Simone Valere and Jean Desailly lay dead-pan dry-wit round the household as Pompadour and Louis XV.
Playing fast and loose with reality, (the real Charles was a man who dressed up as a woman) Audry's husband/regular corroborator is here joined by Ennio De Concini/ Jacques Laurent/ Vittorio Nino Novarese & Les maudits (1947-also reviewed) co-writer Jacques Remy for a grand Costume Drama, which continues Audry's subversions of period romantic archetypes, in the delicate loving passion between "Charles" and Elisabeth (played by a lovely Isa Miranda) with playful, merry misunderstanding comedic word-play,as Charles/ Genevieve reveals a secret.
View on the film:
The only one out of the five current subtitled films from her credits that was shot in colour, directing auteur Jacqueline Audry lights her distinctive eye for Costume Drama period detail, with a chocolate box shimmering ultra-stylisation.
Audry unveils long, refined panning shots over the bursting with colour flowing dresses of Catherine II, with the walls of the castles being lined in sparkling ruby red.
Having to keep her real identity under wraps, Andree Debar makes her final performance one that sparkles as Genevieve / Charles, with the femininity she displays when away from the eyes of royalty as Genevieve,being a aspect which Debar subtly stretches out into a more withdrawn, masculine direction, whilst real life couple Simone Valere and Jean Desailly lay dead-pan dry-wit round the household as Pompadour and Louis XV.
Playing fast and loose with reality, (the real Charles was a man who dressed up as a woman) Audry's husband/regular corroborator is here joined by Ennio De Concini/ Jacques Laurent/ Vittorio Nino Novarese & Les maudits (1947-also reviewed) co-writer Jacques Remy for a grand Costume Drama, which continues Audry's subversions of period romantic archetypes, in the delicate loving passion between "Charles" and Elisabeth (played by a lovely Isa Miranda) with playful, merry misunderstanding comedic word-play,as Charles/ Genevieve reveals a secret.