Whilst Arletty is the main reason for watching any film she chooses to grace with her presence Advenure In Paris was clearly designed as a vehicle for the great Jules Berry and he takes it by the scruff of the neck and shakes it until it yells Uncle. Marc Allegret shot this entry just as the National Front had triumphed at the polls and formed its one and only government albeit a short-lived one and the film catches and reflects the sense of exuberence in the air. Berry is in his element as a combination of Con Man and Casanova and we meet him first carrying out a successful seduction even as bailiffs are stripping his apartment at the behest of his landlord. Totally unfazed Berry approaches said landlord, a biscuit maker, and offers to help him promote his product and, as a bonus, fix him up with a woman. Enter Daniele Parola (who, in real life was the wife of producer Andre Daven) who ceased making films shortly after this, which was unfortunate as she was both gifted and attractive. She tumbles to Berry's game from minute one and despite fancying him like crazy introduces him to her cousin Rose and as Rose is played by Arletty, just coming into her own in 1936, the film moves up a gear; the two would feature twice more in far superior movies, Le Jour se leve and Les Visiteurs du soir, but as both were the work of the brilliant writer-director team of Jacques Prevert and Marcel Carne this is hardly surprising. Meanwhile Adventure In Paris remains a tasty Screwball Comedy-lite despite what the tame house reviewer at FilmsdeFrance might tell you. One to be savoured.
Review of Aventure à Paris
