Raymond Aimos Movies

The French upper class is chastised in this socially conscious drama that centers on a naive young woman who travels to a mountain resort to be with her fiancé. She is expecting a romantic weekend, but she is terribly disappointed to discover that the wealthy patrons are naught but soulless vessels living only to suck the life out those less fortunate. She is really shocked to discover that her own lover has become one of these useless dilettantes who unfeelingly destroys their relationship when he finds it boring. The young woman then meets a man who works on a local dam. It is he that instills real values in her and saves her from a greedy fellow who wants her. In the end, the girl and the worker run away together. ~ Sandra Brennan, Rovi

Director Max Ophuls managed to get three productions before the cameras in 1940, the best of which was De Mayerling a Sarajevo. In his characteristic pageant-like fashion, Ophuls traces the fall of the Austro-Hungarian empire by spiritually linking the tragic 19th century romance of Crown Duke Rudolph and Baroness Maria Veretsa to the 1914 assassination of Archduke Ferdinand and the subsequent outbreak of WW1. According to the film, Ferninand (played by American actor John Lodge) was no slouch in the romantic department himself; but unlike his predecessor Rudolph, the Archduke is permitted to marry his mistress (Edwige Feuilliere), who thereby becomes the Duchess of Hohenberg. Mistrusted by his aristocratic peers because of his progressively democratic notions, Ferdinand seems destined to be martyred at the hands of his enemies, in much the same way that Rudolph's non-royal impulses brought about his demise. One of Ophuls' favorite cinematic devices, the "court dance", is cunningly utilized in De Mayerling a Sarajevo when the lovers are prevented from attending a palace ball, symbolizing the irreparable schism between the modernistic Ferdinand and the hidebound Hapsburgs-and also presaging the deaths of the Archduke and his Duchess. ~ Hal Erickson, Rovi

In this gentle comedy, an aristocratic English fellow is not happy to be betrothed to a brewery heiress. One day he goes to a circus and ends up with a lively human cannonball in his life. He immediately falls for the daring young performer and they end up eloping and going to Paris to live out the rest of their lives. ~ Sandra Brennan, Rovi

Though its title and director are Russian, The Volga Boatmen was lensed in its entirety in France. Set in pre-revolutionary days, the story concentrates on the miserable lives of the boatmen who pull their merchant vessels up and down the Volga. When army officer Vadime Borzine (Pierre Blanchar)is caught in a compromising position with the wife of his commander, Borzine is punished by being forced to join the ranks of the Volga boatmen. Fate intervenes when a yacht carrying his sweetheart catches fire, enabling Vadime to perform conspicuous acts of bravery, thereby clearing his name. Though not a remake of the 1927 Cecil B. DeMille film of the same name, both versions of The Volga Boatmen have a great deal in common. ~ Hal Erickson, Rovi

Courier Sud (Southern Carrier) dramatizes the exploits of a French commercial airline, making the treacherous run from Paris to Africa and back. Much of the drama takes place on solid ground, as pilot Jacques (Pierre Richard-Willm) tries to rekindle a romance with old flame Genevieve (Jany Holt), now married to a prominent foreign ambassador (Charles Vanel). Planning a illicit tryst with Genevieve, Jacques persuades his pal Hubert (Alexandre Rignault) to substitute for him during the weekly flight to Africa. Sure enough, Hubert crash-lands in the desert, forcing a guilt-stricken Jacques to vainly attempt a rescue. To make a long story short, those left alive do not live happily ever after. ~ Hal Erickson, Rovi

Filmed in 1936 but not released in the US until 1940, Julien Duvivier's Man of the Hour (L'Homme du Jour) was, believe it or not, Maurice Chevalier's first French starring feature (all of his previous vehicles had been made in Hollywood or London). Chevalier plays a dual role: "Himself", the well known singer-boulevardier, and a humble stage electrician named Alfred Boulard. The hero of the occasion is Boulard, who attains fame and fortune after donating blood to save the life of stage actress Mona Talia (Elvira Popesco). His sudden celebrity goes directly to Boulard's head, and soon he is impossible to be around. In the end, Mona teams up with Boulard's boarding-house companions to teach him a lesson. Critics in 1936 were overwhelmed with the scene in which both Chevaliers sing together, though that sort of thing was already kid stuff in Hollywood. ~ Hal Erickson, Rovi

Based on Idol's End, a novel by Claude Anet, the French Mayerling is based on the tragic real-life story of Hapsburg Crown Prince Rudolph and his mistress, Baroness Marie Vetsera. Since the details of Rudolph and Marie's lives and deaths are clouded in controversy, much of the film is romanticized speculation-with emphasis on the romance. The film establishes Rudolph (Charles Boyer) as a rebellious "man of the people", at eternal odds with his despotic father, Emperor Franz Joseph (Jean Dax). To keep him quiet and out of trouble, Rudolph is forced into an arranged marriage, and surrounded by Hapsburg informers and spies. In an effort to escape this oppressive atmosphere, a disguised Rudolph dashes off to a fair, where he meets the beauteous 17-year-old Marie (Danielle Darieux). Thus begins an illicit romance, which the lovers try vainly to keep secret from the prying eyes of the Emperor's flunkeys. One of Rudolph's enemies arranges for Marie to be taken away to Trieste for a "rest cure." Rudolph sinks into a drunken depression, snapping out of it only when Marie returns. They attempt to legitimize their love through marriage, but the Catholic hierarchy will not approve of Rudolph's divorcing his wife. Desperately, the lovers flee to Rudolph's hunting lodge in Mayerling. Here they spend an exquisite last night together, then formulate a death pact. The following day, Marie and Rudolph are found lying side by side-united in death. Transforming this grim story into a tender, moving romance was quite an undertaking, but the end result was worth it: Mayerling was a huge international hit, and the winner of several industry awards, including the New York film critics' "best foreign picture" prize. Mayerling was remade in surprisingly cold and distant fashion in 1968, with Omar Sharif and Catherine Deneuve. ~ Hal Erickson, Rovi

Less ambitious than his previous Golgotha, Julien Duvivier's La Bandera is nonetheless more entertaining. A Foreign Legion yarn, La Bandera downplays spectacular battle scenes in favor of a romantic triangle. Accused of murder, Pierre (Jean Gabin) joins the Legion, with detective Lucas (Robert Le Vigan) hot on his trail. Both Pierre and Lucas fall in love with beautiful Bedouin girl Aischa (Annabella), which only intensifies their hatred of one another. The two antagonists are eventually forced to bury the hatchet when fighting shoulder to shoulder against uprising natives. The ending is rather startling, inasmuch as the audience was expected the actor with the best screen billing to get the girl. ~ Hal Erickson, Rovi

Les Croix de Bois (Wooden Crosses) may well be the most powerful anti-war film ever made; certainly it is the grimmest and most uncompromising. Starting with an impressionistic shot of a gloomy hillside studded with white grave markings, the film delineates the hopelessness and horror of war in such explicit terms that at times it's nearly impossible to watch. Set during WWI, the story concentrates on a handful of French draftees, including an idealistic student named Demachy (Pierre Blanchard). Marching off to war with joyful patriotic fervor, the men are quickly disillusioned by the appalling realities of total warfare. When they aren't enduring ten nonstop days of enemy bombardment, the soldiers must sweat out the horrible realization that their trenches are being mined from underground. Nor are they given any relief during those rare lulls in fighting. At one point, the men are yanked away from a much-needed furlough to march in a victory parade for the entertainment of their callous, fat-cat superior officers. One by one, the men are killed off, until only Demachy remains -- but, tragically, not for long. Such was the impact of Les Croix de Bois, that, when it was shown on French television in the 1970s, a WWI survivor who watched the film for the first time was so overwhelmed by despair that he committed suicide. Generous portions of the film's battle sequences were later incorporated in the 1934 John Ford film The World Moves On and the 1936 Howard Hawks production The Road to Glory. ~ Hal Erickson, Rovi

Rene Clair's Under the Roofs of Paris is one of the first French films shot in sound. The film is a relaxed melodrama where a Parisian street singer (Albert Prejean) and his friend (Edmond Greville) pursue the love of the same woman (Pola Illery). Clair chose to use sound only when needed, preferring to tell the story through his visuals as well as through his dialogue. The result is a striking film, boasting beautiful photography and sets, as well as a moving story. ~ Stephen Thomas Erlewine, Rovi