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Cult Review
Senior Film Conservator
If you have a thing for vintage European comedies and don't mind the film being a bit, well, crusty around the edges, you might get a kick out of this. But honestly, if you need modern pacing or a plot that actually holds water, skip it. You’ll probably hate it if you get annoyed by people constantly misreading letters or hiding behind curtains.
It’s not a masterpiece, and it doesn't try to be. It’s just a movie where people run around in cars.
The whole premise of a female chauffeur in this era is honestly kind of cool on paper. It feels like it wants to be a bit rebellious, but it mostly just turns into a classic farce. There’s a lot of running around and slamming doors.
I found myself staring at the background extras more than the actual leads. There’s this one guy in a hat near the cafe scene who just stands there for an eternity. He doesn't even look like he knows where he’s supposed to be. It’s genuinely distracting, but in a funny way.
Speaking of things that are distracting: the driving sequences. I’m pretty sure they filmed half of this while the car was just sitting on a wooden crate. You can tell because the trees in the back don't move at all. It’s charmingly fake.
Watching this made me think of other era-specific comedies, like the energy in The Man in Hobbles. Both films have that same frantic need to keep the audience from thinking too hard about the plot holes. If you enjoyed the lighthearted nonsense of Raise the Rent, you’ll find a similar vibe here.
It’s not as polished as Bardelys the Magnificent, but it has a smaller, sweatier heart. It’s a movie that feels like it was made on a Tuesday afternoon just to get it done.
I don't know, maybe I’m just a sucker for old cars and people acting flustered. It’s not great cinema, but it’s there. And sometimes that’s enough. 🚗💨