Elena et les hommes

Silly concoction is a minor work for all involved. Ingrid, in her last foreign film before her Rossolini fueled exile from Hollywood ended with her triumphant return in Anastastia, is charming and her dresses are incredibly beautiful. But the settings have a sense of falseness to them, even wealthy people's homes look like someone lives there, these are obvious sets. Even the outdoor scenes have a claustrophobic feeling of being stage-bound. Renoir doesn't seem comfortable with the material or perhaps he didn't believe in it, either way it's missing a light touch that would have turned the film into a charming soufflé instead of the flat farce that it is. Mildly amusing but almost completely forgettable.

In the end of the Nineteenth Century, on the July 14th Celebration in Paris, the broken widow Polish Princess Elena Sokorowska (Ingrid Bergman) meets the bon-vivant Henri de Chevincourt (Mel Ferrer) on the streets. Henri introduces his friend General François Rollan (Jean Marais), who is a national hero. Elena has sold all her pearls and needs to get married to keep her lifestyle. Elena involves with a group of politicians that intend to promote the general to the presidency of France supported by the people. Rollan and Henti fall in love for Elena and dispute her love.

"Elena et les Homes" is a dull romance in a political environment in France that is homage to love and the French way of life. Ingrid Bergman shines with her beauty performing a likable character. The bright colors highlight the art decoration, with colorful sets and costumes. This movie was released in Brazil on VHS by Mundial Filmes Distributor. My vote is six.

Title (Brazil): "As Estranhas Coisas de Paris" ("The Strange Things of Paris")

Jean Renoir will always be judged by his timeless pre-war French classics which means that his subsequent films invariably fall short. This is the third of his 'trilogy' from the 1950's. It is not quite as bad as 'La Carosse d'Or' but not nearly as good as 'French Cancan'.

Ravishingly shot by Claude Renoir, it begins promisingly with the blossoming romance between luminous Ingrid Bergman and elegant Mel Ferrer but the director has alas plumped for a strange concoction of romantic melodrama and slapstick farce and ultimately the film works as neither. Love conquers all at the end which is a relief because it means the film is finally over.

Apparently Rossellini advised his wife to work with Renoir and Bergman. Having made this dud with the former she had to wait twenty years to work with the latter which produced the masterpiece 'Autumn Sonata'.

There is one really great scene in this movie....the ocean of people at the Bastille Day Celebration and the movement of the crowd through its waves. This scene, and the overall color and details of costumes make this movie worthwhile. And of course there's Ingrid Bergman, whose beauty and poise (even when a little tipsy) is always watcheable. (She is really unique in her era.....have you ever seen or heard of her persona being vamped by any contemporary drag queens....can't be done, I'll wager). The rest of the movie tries to be madcap and michievous, but it just doesn't work. I'm amazed at reading the plot description here....so THAT'S what it was supposed to be about! Sure lost me.

After watching two of his silent shorts, 'Elena and her Men (1956)' is my first feature-length film from French director Jean Renoir, and I quite enjoyed it. However, I didn't watch the film for Renoir, but for star Ingrid Bergman, who – at age 41 – still radiated unsurpassed beauty, elegance and charm. Throughout the early 1950s, following her scandalous marriage to Italian Roberto Rossellini, Bergman temporarily fell out of public favour. Her next five films, directed by her husband, were unsuccessful in the United States, and I suspect that Renoir's latest release did little to enhance Bergman's popularity with English-speaking audiences {however, she did regain her former success with an Oscar in the same year's 'Anastasia (1956)'}. She stars as Elena Sokorowska, a Polish princess who sees herself as a guardian angel of sorts, bringing success and recognition to promising men everywhere, before promptly abandoning them. While working her lucky charms to aid the political aspirations of the distinguished General Francois Rollan (Jean Marais), she finds herself falling into a love that she won't be able to walk away from. This vaguely-political film works well as either a satire or a romantic comedy, as long as you don't take it too seriously; it's purely lighthearted romantic fluff.

Filmed in vibrant Technicolor, 'Elena and her Men' looks terrific as well, a flurry of bright colours, characters and costumes. Bergman's Polish princess is dreamy and somewhat self-absorbed, not in an unlikable way, but hardly a woman of high principles and convictions. She is persuaded by a team of bumbling government conspirators to convince General Rollan to stage a coup d'état, knowingly exploiting his love for her in order to satisfy her own delusions as a "guardian angel." Perhaps the film's only legitimately virtuous character is Henri de Chevincourt (Mel Ferrer, then Audrey Hepburn's husband), who ignores everybody else's selfish secondary motives and pursues Elena for love, and love alone. This, Renoir proudly suggests, is what the true French do best. 'Elena and her Men' also attempts, with moderate success, to expose the superficiality of upper-class French liaisons, through the clumsy philandering of Eugène (Jacques Jouanneau), who can't make love to his servant mistress without his fiancè walking in on them. For these sequences, Renoir was obviously trying for the madcap sort of humour that you might find in a Marx Brothers film, but the film itself is so relaxed and laid-back that the energy just isn't there.