Cult Review
Senior Film Conservator
If you have a thing for black-and-white French comedies from the 1930s, you’ll probably find something to smile at here. If you’re looking for high-stakes drama or anything that moves faster than a leisurely Sunday drive, you’ll be bored stiff within fifteen minutes.
It is definitely for the crowd that likes their movies to feel like a dusty, pleasant attic. Don't go in expecting Le capitaine Craddock levels of energy, though.
The whole premise is weirdly focused on tires. Like, weirdly. Our hero is an heir to a tire empire who thinks the best way to handle corporate espionage and blood feuds is to marry the competition. It’s a very specific kind of logic.
There is this one scene near the start where they are discussing market share that feels like it goes on for an eternity. I think I counted three different close-ups of the same hubcap. Maybe it was a metaphor? Or maybe the cameraman just really liked the shine on that wheel.
The acting is very… theatrical. Everyone seems to be projecting to the back row of a theater that isn't there. It has that stiff, rehearsed feeling you find in The Tame Cat. Still, there’s a genuine sweetness to the way they trade barbs. 🚗
It’s not a masterpiece. It’s not even trying to be one. It’s just a little story about people who are way too stressed out about rubber. Sometimes that’s exactly what you need on a rainy Tuesday.
It lacks the punch of Monte Carlo, but it gets the job done if you just want to turn your brain off and watch people in suits drive vintage cars into each other's lives. Just don't ask too many questions about the manufacturing business model. It doesn't hold up.

Year
1933
IMDb Rating
—

Editorial
Deciphering the legacy of transgressive cult cinema.
Community
Log in to comment.