6.4/10
Senior Film Conservator

A definitive 6.4/10 rating for a film that redefined the boundaries of cult cinema. Baccara remains a cornerstone of transgressive art.
If you have a thing for black-and-white French comedies where everyone talks fast and wears fancy hats, you’ll probably find something to love here. It’s light, it’s breezy, and it doesn't try to solve the world's problems. If you need grit or high-stakes drama, though, you’re going to be bored out of your mind. Seriously, look elsewhere.
The whole premise hinges on a woman trying to snag French citizenship by marrying a guy who exists basically just to be a signature on a document. It’s a classic Yves Mirande script—lots of frantic energy and people running into rooms they shouldn't be in. It reminds me a bit of the frantic energy in The Square Sex, though the tone here feels a little more desperate.
Jules Berry is in this, and he’s clearly having a blast. He has this way of blinking that makes you think he’s hiding a secret in his pocket, which he usually is. The rest of the cast feels like they’re trying to keep up with him, often failing, but in a way that’s kind of endearing.
I caught myself zoning out during some of the longer dialogue exchanges. It’s not that they’re bad, they just feel like filler. It feels like the director just wanted to get to the next punchline, which, to be fair, usually lands okay. It’s nowhere near the tension you get in Grand Hotel, but it’s not trying to be.
It’s a strange little movie. It feels like a relic that survived by accident. I’m not sure I’d recommend it to a casual viewer, but if you’re a fan of vintage cinema, it’s a weird, fun watch for a rainy Tuesday. Just don't look too hard at the continuity. The wedding dress changes shades of grey in two different shots, which is hilarious if you’re paying attention. 🎞️