Based upon a novel by Charles Spaak this could be seen as a variation on the theme of 'Lysistrata' by Aristophanes, in which the women of Athens and Sparta deny their partners any sex until peace has been restored.
In Jacques Feyder's masterpiece from the Golden Age of French cinema the women of a Flemish town decide to bestow their favours on the occupying Spanish soldiers so as to avoid bloodshed. It must be said that once they have set eyes on their swarthy conquerers they do not require much persuasion and set about their task with relish.
It was this aspect in particular that caused so much outrage in certain quarters as it was seen to deride heroic resistance and to favour collaboration. Once war had broken out Goebbels had the film banned whilst the director and his actress wife Francoise Rosay were obliged to leave France to avoid the unwelcome attentions of the Gestapo.
Feyder responded to criticism by saying that his intention was to celebrate the glories of his country's art from the Sixteenth and Seventeenth centuries. He has certainly succeeded in this as he and his team have us enabled to step into the world of Hals and Vermeer.
Under the supervision of legendary art director Georges Wahkévitch an entire town was meticulously constructed in a Paris suburb, using cement, real steel and plaster instead of the usual papier maché and cardboard. This, together with the cinematography of Harry Stradling, costume design of Georges K. Benda and luscious score by Louis Beydts all combine to give us a film that is in itself a work of art.
It would be well nigh impossible to assemble a cast of this quality now. The role of the Burgermaster's wife is probably the magnificent Francoise Rosay's most iconic. She is complemented by André Alerme's pompous and pusillanimous husband and the highly civilised Spanish nobleman of Jean Murat. In an early role Louis Jouvet effortlessly steals his scenes as a worldly monk. Every character is beautifully drawn and special mention must be made of Alfred Adam as the butcher and Lyne Clevers as the fish-wife.
Following the rather sombre 'Pension Mimosas', Feyder felt the need to do something lighter and this mock-heroic farce is indisputably his greatest achievement. He once described himself as 'an artisan working in an industry.' In this he was being unduly modest.
In Jacques Feyder's masterpiece from the Golden Age of French cinema the women of a Flemish town decide to bestow their favours on the occupying Spanish soldiers so as to avoid bloodshed. It must be said that once they have set eyes on their swarthy conquerers they do not require much persuasion and set about their task with relish.
It was this aspect in particular that caused so much outrage in certain quarters as it was seen to deride heroic resistance and to favour collaboration. Once war had broken out Goebbels had the film banned whilst the director and his actress wife Francoise Rosay were obliged to leave France to avoid the unwelcome attentions of the Gestapo.
Feyder responded to criticism by saying that his intention was to celebrate the glories of his country's art from the Sixteenth and Seventeenth centuries. He has certainly succeeded in this as he and his team have us enabled to step into the world of Hals and Vermeer.
Under the supervision of legendary art director Georges Wahkévitch an entire town was meticulously constructed in a Paris suburb, using cement, real steel and plaster instead of the usual papier maché and cardboard. This, together with the cinematography of Harry Stradling, costume design of Georges K. Benda and luscious score by Louis Beydts all combine to give us a film that is in itself a work of art.
It would be well nigh impossible to assemble a cast of this quality now. The role of the Burgermaster's wife is probably the magnificent Francoise Rosay's most iconic. She is complemented by André Alerme's pompous and pusillanimous husband and the highly civilised Spanish nobleman of Jean Murat. In an early role Louis Jouvet effortlessly steals his scenes as a worldly monk. Every character is beautifully drawn and special mention must be made of Alfred Adam as the butcher and Lyne Clevers as the fish-wife.
Following the rather sombre 'Pension Mimosas', Feyder felt the need to do something lighter and this mock-heroic farce is indisputably his greatest achievement. He once described himself as 'an artisan working in an industry.' In this he was being unduly modest.