Louis Jourdan Movies

In this romantic comedy, a lonely orphan answers a singles ad in a paper and then slips out of the orphanage to meet the man whose letters she has come to love. However, the college professor she meets has actually been ghost writing for the real lonely heart. ~ Iotis Erlewine, Rovi

La Vie de Bohème is adapted from Henri Murger's libretto for Giacomo Puccini's opera La Bohème with the Puccini music relegated to the background. Louis Jourdan plays Rudolphe, the "starving artist" who falls in love with the beautiful but sickly Mimi (Maria Denis). As the tragic Rudolphe-Mimi romance plays itself out to its inevitable conclusion, director Marcel L'Herbier occasionally shifts focus to such supporting characters as painters Marcel (André Roussin), Schaunard (Alfred Adam), the philosophical Colline (Louis Salou), and the fun-loving Phemie (Suzy Delair). Some newly added scenes flesh out the character of Musette (Gisèle Pascal), tracing her progress from wealth to penury and wealth again. Perhaps the most famous filmization of this story is the 1926 La Bohème, starring Lillian Gish and John Gilbert. ~ Hal Erickson, Rovi

Another interesting effort from independent Enterprise Productions, No Minor Vices stars recent French import Louis Jourdan. Into the staid, conservative lives of pediatrician Perry Ashwell (Dana Andrews) and his wife April (Lilli Palmer) comes the flamboyantly eccentric Greenwich Village artist Otavio Quaglini (Jourdan). Insisting upon sketching the hidden "inner selves" of the Ashwells, Quaglini causes nothing but disharmony and dissension between Perry and April. Conversely, the artist's visit has a positive effect on Ashwell's lovelorn assistants Miss Darlington (Jane Wyatt) and Dr. Sturdivant (Norman Lloyd). No Minor Vices doesn't always work, but it's fun to watch Louis Jourdan plug his way through a role that Burgess Meredith or Hans Conried could have played blindfolded. ~ Hal Erickson, Rovi

MGM circumvented the censorship that would otherwise have prevented a film version of Gustave Flaubert's Madame Bovary by adding a prologue and epilogue that assured any and all bluenoses that the story was strictly a work of fiction. James Mason appears as Flaubert, defending his inflammatory novel before a French jury. Thus, the tragedy of Emma Bovary (Jennifer Jones) is offered as a product of Flaubert's imagination, rather than a real-life story. The body of the film concerns Emma's attempt to escape the boredom of her bourgeois existence by marrying a doctor (Van Heflin). She finds life with the physician even more tiresome than her previous experiences, thus begins taking a series of wealthy lovers-all of whom prove to be two-dimensional cads. Unable to tolerate a lifetime of dead-end affairs, Emma eventually commits suicide. The best sequence-indeed, one of the finest set pieces ever directed by Vincente Minnelli-is the "Emma Bovary Waltz" sequence, a dazzling experience in dizzying camera movements. ~ Hal Erickson, Rovi

Jean Peters is at her feisty best in Anne of the Indies. Harboring a grudge against all men (and not without reason), Anne becomes "Captain Providence," one of the most notorious pirate leaders of the Spanish Main. Anne is pursued by French captain Pierre la Rochelle (Louis Jourdan), who intends to bring her to justice. To this end, La Rochelle makes romantic overtures to Anne, but she gloms onto his scheme and abducts the captain and his wife Molly (Debra Paget). After leaving her victims to die on a desert island, Anne relents and rescues them. She later fully redeems herself (at great personal cost) during a battle with her fiercest rival, Blackbeard (Thomas Gomez). Few actresses could have pulled off the contrarily-written title character in Anne of the Indies with as much determination and conviction as Jean Peters; surprisingly, the actress was reportedly never comfortable before the cameras, often insisting that she'd rather be a schoolteacher! ~ Hal Erickson, Rovi

Rue de L'Estrapade was filmmaker Jacques Becker's immediate follow-up to his 1952 classic Casque D'Or. That the film does not quite measure up to its predecessor shouldn't be held against it. Anne Vernon and Louis Jourdan play Francoise and Henri, a happily married Parisian couple. Despite his marital bliss, Henri decides to embark on a brief romantic fling. In answer to his infidelity, Francoise moves to the Bohemian artists' community, where she nearly succumbs to the charms of a scruffy existentialist (Daniel Gelin). This being a French film, a satisfactory ending is achieved without any harsh punishment being bestowed upon either husband or wife. ~ Hal Erickson, Rovi

Adapted by playwright John Patrick from a novel by famed globetrotter/filmmaker John H. Secondari, Three Coins in the Fountain offers the splendors of Rome in Technicolor, CinemaScope and Stereophonic Sounds. For all its lovely picture-postcard images, the film is at base a reworking of 20th Century-Fox' favorite plotline: three pretty girls on the prowl for husbands. The three lovelies, who toss their coins in the Trevi fountain and wish for romance, include Dorothy McGuire, Jean Peters and Maggie McNamara. Before the film is over, secretary McGuire has wooed her boss, Clifton Webb, Peters has won the heart of a co-worker Italian translator Rossano Brazzi (despite being fired, in the process, for having an office romance); and McNamara finds happiness with prince Louis Jourdan. Three Coins in the Fountain won two Academy Awards: "Best Color Cinematography" (Milton Krasner), and "Best Song" (written by Sammy Cahn and Jimmy Van Heusen, and sung in the pre-credits sequence by an uncredited Frank Sinatra). The film was remade in 1965 as The Pleasure Seekers, and also served as the basis for a never-sold TV pilot starring Yvonne Craig, Cynthia Pepper and Joanna Moore. ~ Hal Erickson, Rovi

This highly anticipated and lavishly publicized semi-musical TV adaptation of Kay Thompson's "Eloise" stories stars 7-year-old Evelyn Rudie as the titular 6-year-old heroine. As devotees of the books written by Thompson and illustrated by Hilary Knight already know, Eloise is a precocious little girl who lives with her Nanny, her dog Weenie (actually a cat) and her turtle Skipperdee at New York's posh Plaza Hotel. Forever sticking her nose into other people's business, Eloise tries to promote a "storybook" romance between a visiting Prince (Louis Jourdan) and a hotel chambermaid (Inger Stevens). Despite the presence of several venerable guest stars playing themselves--including Ethel Barrymore, Monty Woolley, hotelier Conrad Hilton and Kay Thompson herself--"Eloise" was one of the biggest flops in the history of the CBS anthology Playhouse 90. What seemed cute and whimsical in print came off as loud and obnoxious, largely due to the overbearing personality of child actress Evelyn Rudie. Incredibly, several subsequent attempts were made to foist Rudie on the public, including a not-bad episode of Alfred Hitchcock Presents, but the kid never quite became another Shirley Temple, and faded from view after a few years. ~ Hal Erickson, Rovi

Julie is most enjoyable if one doesn't take it too seriously. Doris Day plays Julie Benton, whose off-the-coop musician husband Lyle Benton (Louis Jourdan) confesses that he in fact killed Julie's first husband. She immediately recognizes that he is so possessive of her that he would sooner rub her out than lose her altogether, and leaves Lyle, seeking protection under the wing of a country club acquaintance, Cliff Henderson (Barry Sullivan).
The San Francisco police deduce that Julie is in danger from Lyle, and begin to close in on the poor woman to protect her, but she inadvertently misses them. In the film's thrilling final sequence, Julie has returned to the stewardess job she once held - without realizing that Lyle has boarded the plane sans detection, planning to murder out most of the crew and take her out next. Silent film star Mae Marsh, a "regular" in the films of director Andrew L. Stone, appears in the closing scenes as an hysterical passenger. ~ Hal Erickson, Rovi

What if the Dauphin of France managed to escape the Reign of Terror during the French Revolution? That's the premise of the opulent British swashbuckler Dangerous Exile. Louis Jourdan stars as the Duc de Beauvais, who manages, at great personal sacrifice, to smuggle the son (Richard O'Sullivan) of King Louis XVI into England. The boy takes up residence in Wales, where he is protected by local lass Virginia Traill (Belinda Lee) and her wealthy Aunt Fell (Martita Hunt). When time comes for the boy to return to France, he refuses--but local newspaper editor Patient (Finlay Currie), a spy for the French revolutionaries, has other ideas. Keith Michell, future star of TV's Six Wives of Henry VIII, is well cast as a French Republican with whom the Duc de Beauvais must inevitably cross swords. ~ Hal Erickson, Rovi

A star-studded cast enlivens this glossy '50s soap opera, based on a novel by Rona Jaffe. The action unfolds at the Gotham-based Fabian Publishing, where numerous women work as typists under the aegis of power-wielding, shark-like editor Amanda Farrow (Joan Crawford). Farrow has achieved wealth and success, but is far from idolized by her underlings, who understand clearly that their boss has chalked up all of her accomplishments at the expense of a satisfying personal life. Caroline Bender (Hope Lange) is a recent graduate of a prestigious women's college whose sole desire in life is to marry her college sweetheart Eddie (Brett Halsey; she admits openly that she cares little for power, ambition or career advancement. She gets a job in the secretarial pool of Fabian Publishing and soon takes an apartment with some female co-workers. Caroline quickly realizes that she has a catbird seat to witness the romantic entanglements and office politics of Fabian's many female employees. Farrow is having an affair with a mysterious married man, and Caroline's roommates have tales of their own to tell: April (Diane Baker) has become pregnant by the unscrupulous Dexter (Robert Evans), who suggests she have an abortion; and Gregg (Suzy Parker) has become involved with smooth-talking Broadway director David Wilder Savage (Louis Jourdan), not the most faithful man in the world. Robert Evans's career as an actor came to an end after this film, and he later enjoyed success as a studio head at Paramount Pictures in the 1970s, supervising The Godfather, and serving as producer of such films as Chinatown and Marathon Man. ~ Mark Deming, Rovi