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5.4/10
Senior Film Conservator
A definitive 5.4/10 rating for a film that redefined the boundaries of cult cinema. Mam'zelle Nitouche remains a cornerstone of transgressive art.
Alright, so you’re wondering about Mam'zelle Nitouche? If you're into those old French farces, the kind where everyone's running around, just barely missing each other, then yeah, give this a shot. It's a fun, kinda silly ride for folks who appreciate a bit of theatrical history and don't mind a slower pace. If you need explosions or deep, meaningful stares, you'll probably bounce off this one pretty quick. 🤷♀️
The whole thing hinges on Célestin, an organist at a convent by day, but a secret operetta composer named Floridor by night. You see him in the quiet church, then suddenly he’s rushing off to rehearsals. It’s a classic setup for a delightful mess, really.
Then there's Denise. She’s introduced as this proper convent girl, all demure and quiet. But the minute she's out from under the Mother Superior’s eye, she starts to show her true colors. She’s not so innocent after all. It’s actually pretty refreshing to watch her shed that good-girl act.
The plot, oh boy, it’s a spiderweb of misunderstandings. Célestin, as Floridor, is sweet-talking Corinne, the star of his show. Meanwhile, Corinne is already involved with a _commander of dragons_, who happens to be the Mother Superior's brother. Seriously, a commander of dragons! 🐉 That detail just stuck with me. Is just so French.
And Denise, who Célestin is chaperoning, keeps bumping into Lieutenant Fernand de Champlatreux. He’s her fiancé, but neither of them know it. It’s just this beautiful, *clumsy dance* of fate. You can see the gears turning, the mistaken identities just waiting to happen. It makes you smile.
A specific moment that made me chuckle: Célestin trying to juggle his two lives. He's constantly trying to keep his organist uniform hidden or making up increasingly absurd excuses. One scene where he's practically tripping over himself trying to avoid being seen in his 'Floridor' attire is just classic physical comedy. It feels very much like a stage play brought to screen. Makes sense for an operetta, really.
The acting style is very much of its era. Big expressions, clear intentions. Raimu, who plays Célestin, has this wonderful, harried energy. You can almost feel his sweat trying to keep everything straight. Simone Simon as Denise is just charming; she totally sells that shift from quiet girl to a vivacious performer.
The musical numbers themselves are fairly simple, catchy tunes. They serve the plot, pushing the silliness forward rather than stopping it dead. They don't linger too long, which is a mercy sometimes with older films.
There’s a part where the whole company ends up at the military barracks, and the chaos really ramps up. Everyone is confused, everyone is shouting. It’s a lot, but in a fun way. You just have to let yourself be carried along by the sheer absurdity. The soldiers marching around, completely oblivious to the theatrical drama unfolding around them, that contrast works.
It’s not a masterpiece, not by any stretch. Some moments drag a bit, and sound quality, well, it’s 1931. You can’t expect pristine. But it has this undeniable warmth. It's like watching a really elaborate, well-meaning school play, but with grown-ups and slightly better costumes.
The film doesn't really try to make any grand statements. Is just a couple of hours of lighthearted fun. A genuine escape into a world of silly rules and even sillier solutions. And honestly, sometimes that’s exactly what you need. It felt less like a movie and more like a happy accident.
IMDb 5.8
1930
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