Mam’zelle Nitouche (1954) - film review

Célestin leads a double life.  By day, he is a respectable music teacher in a girl’s convent; by night, he composes popular operas under the pseudonym Floridor, whilst having an affair with his leading lady Corinne, the wife of a major.  To be present at the opening night of his new opera, Célestin finds himself having to escort one of his pupils, Denise de Flavigny, to town to meet her future husband.  Locked in a hotel bedroom, Denise manages to escape thanks to a passing young officer, the Lieutenant La Vauzelle.  The latter instantly falls in love with the young woman, but she pretends to be married to Célestin, not realising that La Vauzelle is her intended husband.  When Corinne walks out of Célestin’s production, Denise takes her place, with great success.  After the show, Denise is reunited with La Vauzelle, leaving Célestin anxious and distraught.  The latter’s attempt to find Denise lands him in the army barracks, from which there appears to be no escape…

The incomparable comic performer Fernandel stars in this colourful screen adaptation of a popular operetta by Meilhac, Blum and Millaud, with music by Hervé.  The film was directed by Yves Allégret whose elder brother Marc made an earlier adaptation of the same work in 1931.  In comparison to most of the films which featured Fernandel at the time, this is a high budget period piece, with lavish sets, authentic costumes, and filmed in glorious Technicolor.  There’s even a good use of the split-screen special effect, in which the two alter egos of the character played by Fernandel appear side-by-side to sing an amusing song.

The gentle comedy, attractive cast and Music Hall atmosphere make this a charming little film, although it pales in comparison with other film musicals of this era.  As is often the case, Fernandel’s strong screen presence rips the focus well and truly away from his co-stars, which is slightly to the detriment of the film.  However, fans of the great comic actor are rewarded by another delightful performance which skilfully combines pathos and slapstick.  Watch out for Louis de Funès in one of his early film appearance.

© James Travers 2004

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