Compartiment de dames seules (1934)
Directed by Christian-Jaque

Film Review

Compartiment de dames seules is a sublime example of the kind of vaudeville farce that became prevalent in French cinema after the arrival of sound.  Films such as this were often based on well-known stage plays and were hugely popular, allowing a mass audience across the country to appreciate what had previously been accessible only to those fortunate enough to live in the main cities (usually Paris).  In fact, most actors who appeared in films at this time came direct from the theatre - indeed, many were distinguished stage actors - and some came from the music hall.  The film was directed by Christian-Jaque who would go on to make some of the most memorable and popular French films of the following two decades - films such as L'Assassinat du Père Noël (1941) and Fanfan la Tulipe (1952).

What makes Compartiment de dames seules such an enjoyable film, and a classic to boot, are the lively contributions from its larger-than-life cast.  Whilst practically none of the actors who appear in this film are particularly well known today, some - notably Armand Bernard, Alice Tissot and Ginette Leclerc - would have been immediately recognisable when the film was released in 1934.   Every character is played to perfection in what is a magnificent ensemble piece; members of the cast play off each other in a way that makes this feel far more like a stage production rather than a conventional film comedy.   The superlative comic dialogue is savoured and delivered to maximum effect, making this an irresistibly funny film.

The situation and jokes are typical of the 1930s but will still strike a chord with a modern audience.  A simple misunderstanding grows and rapidly spirals out of control, sucking all of the players in the piece into its dizzying maelstrom as order gives way to chaos, as the lid of bourgeois respectability is lifted to reveal a morass of devastating indiscretions, lies and hypocrisies.  Compartiment de dames seules works both as delicious piece of comic farce and as a closely observed reflection of contemporary society.  In terms of both the quality of the script and the calibre of the comic performances, this film outshines most so-called comedy that is so lamely served up on television and film today.

Film Synopsis

On the day of his wedding to Nicole, Robert de Merinville makes an extraordinary confession to his stepfather.  Twenty years ago, whilst taking the train from Paris to Versailles, he took advantage of a young woman who was alone with him in his carriage.  Overhearing the conversation, Robert's stepmother is appalled and resolves immediately to put an end to her daughter's marriage.  She tells Robert that she was the woman on the train and that the product of that liaison was Nicole, her daughter.  Horrified to learn that he is the father of his own wife, Robert sees no other recourse but to leave Nicole…