6.8/10
Senior Film Conservator

A definitive 6.8/10 rating for a film that redefined the boundaries of cult cinema. C'était un musicien remains a cornerstone of transgressive art.
If you like movies that feel like they were put together during a particularly long, wine-fueled lunch, you might dig this. People who demand tight plots or realistic character motivations should probably look elsewhere. It’s a film for people who want to see 1930s style, some decent music, and a plot that honestly feels like it was written on a napkin.
Fernand Gravey carries this thing on his back, playing a conductor who spends his free time building car alarms. It’s such an odd detail. You’re watching him conduct a symphony, and then five minutes later he's tinkering with wires under a chassis. It never really reconciles the two halves of his personality.
Then the Baron shows up. Everything about the Baron feels like it belongs in a different movie entirely. He’s rich, he’s Dutch, and he’s mostly there to move the plot toward the romance with the daughter. The chemistry is... well, it’s polite. It’s very 1930s polite.
There is a scene near the middle where the gadgetry actually comes into play. The way the camera cuts to the device is so heavy-handed it’s almost funny. It’s like the movie is shouting, "Look! He invented something!" You can almost hear the director tapping the lens.
It’s not as visually surreal as Lot in Sodom, and it lacks the bite of some later French classics. It’s just a light, airy thing. Sometimes that’s enough. Other times, you just want to know why the conductor is so obsessed with car theft.
If you have a soft spot for these kinds of artifacts, you’ll find something to like here. It feels like a cousin to the more chaotic energy you might find in Courtin' Wildcats, just with more formal wear. Don't go in expecting a masterpiece. Go in expecting to be mildly entertained by a guy who really, really hates car thieves.