Jacqueline Gauthier
Blaise is a doctor, Monique, his wife, is his assistant. That Sunday, in Orleans, the doctor gone hunting, and Monique, finding herself alone, meditating on her monotonous life ... when the doorbell rings, she writes in panic: "I don't want to yell ! ". But she is already yelping, that is to say that she dreams, straddling the real and the imaginary, logic and vision, the concrete and the abstract ...
Aimé Morin, a good-natured bookseller, is also one of the candidates in the local elections of his small town. He is well-liked by most but he also has political enemies. Among them is Lagarde, a journalist close to the latter. Lagarde takes advantage of Morin being on holiday in Paris to try and tarnish his reputation. His machination unfortunately works and poor Aimé finds himself mistaken for a sex maniac.
Gaby, the singer of the "Raymond's Jazz" band, leads Maurice, one of the musicians, to believe that, following a night he spent with her in the hay, he is the father of her child. In fact, the baby is neither his nor hers. He is the son of Madeleine, a young war widow who has entrusted him to her friend Gaby until she is allotted a flat. One day, Maurice happens to meet Madeleine and falls in love with her but he does not dare to confess his "paternity" to her. Fortunately the misunderstanding is clarified and Maurice can at the same time marry Madeleine and adopt her kid.
The Paladines write crime novels together. In a cinema, they happen to see a report on the consequences of a shipwreck in which Lieutenant Dupuis tells about the death of an old man in the lifeboat carrying the survivors. Husband and wife agree that this could be the starting point of a new story and go and see Dupuis to get more details about the drama. When they come to his hotel Dupuis is dead with a bullet in his head. Police characterizes the death as suicide but Paladine has found a train ticket in the dead man's pocket. With his wife he takes the train to the specified destination, somewhere in the provinces...
Gilbert, poet and singer, is about to marry Lilette but deep inside himself he is not quite sure that she is the woman he needs. That is the reason why he has made up an imaginary woman, Frédérica" to whom he writes love letters, actual ones this time. When Lilette finds one of these, she sees red. Théodule, one of Gilbert's many friends, sets out the problem with the help of Claudine, his own girlfriend, posing as Frédérica. After Gilbert and "Frédérica" have played a phony breakup scene in front of Lilette, things seem to come right when... another Frédérica appears...
What was it about opera diva Grace Moore that attracted the attention of filmdom's top directors? Moore's 1937 American movie vehicle When You're in Love had been directed by Josef Von Sternberg; two years later, her French starrer Louise was helmed by no less than Abel Gance, who a decade earlier had revolutionized the "historical epic" genre with the awesome Napoleon. There was, however, little that was revolutionary in this cinemadaption of Gustave Charpentier's opera. Moore plays Louise, a poor seamstress who is led astray by the rakish Julien (Georges Thill). After falling from grace (no pun intended), our heroine is rescued by her understanding father (Andre Pernet), who demonstrates his forgiveness by singing to her (it is, after all, an opera). Though it played to enthusiastic crowds in both London and Paris, Louise turned out to be Grace Moore's final film; conversely, Abel Gance continued to make commercial potboilers well into the 1970s.
