Il diario di una cameriera

This film is not to be confused with the film by the same name which was made in 1964 by the famed director Luis Buñuel. While the theme of a conniving maid who is using her wiles to get ahead is in both and they have the same name, otherwise the films are very dissimilar--mostly because the bizarreness of Buñuel's version is missing. No foot fetishes, no rape, no murder and no antisemitism in the 1946 film! Jean Renoir's vision for the story is light-years different from Buñuel's. Personally, I think both versions have their strengths and both have their flaws, but I think the latter version is a bit better.

Paulette Goddard plays the title role. She is a conniving woman who comes to her new home as a maid in order to marry a rich man. She's mostly interested in the master's son--but the young man is an indifferent suitor at best (Hurd Hatfield). There's also the old and VERY wacky neighbor (Burgess Meredith) and the valet--played in a very creepy manner by Francis Lederer. Who will she get by the end of the film? And, unfortunately, who care? My biggest problem with this film is Goddard. I have long wondered why she got so many plum roles as she was only a fair actress--and here she often overplays her part. Any sort of subtlety is missing from her portrayal--and the role really needed this, as the woman SHOULD have been played like a master manipulator. As far as the direction goes, it wasn't bad--and had the nice look Jean Renoir was noted for in his films. But he probably should have reigned in a few of the more florid portrayals (not just Goddard's)--though Lederer was BRILLIANT and the best thing about the film. Also, Goddard's character was a bit too sympathetic--she should have been much more amoral and manipulative in order to make the movie more enjoyable. Overall, I prefer the 1964 version a bit more--though I think this film could use yet another remake--one that is more subtle and without the weird 'extras' Luis Buñuel put in his film that tended to distract the viewer. Worth seeing but nothing more--and it should have been better. A great script idea that should have been even better--and juicier.

FYI--Burgess Meredith and Paulette Goddard were married while they were making this film. Seeing Meredith wearing so much makeup and playing a very old man was rather funny--as they are almost the same age.

"Life is life. From now on I'm going to fight, and I'm going to fight hard, and I don't care who gets hurt, just so as it's not me."

"Don't be afraid of me. You and I are alike, maybe not in looks, but underneath we are the same."

"How does it feel to be in love?

• It changes all the time."

"Plans can get you into trouble."

"We are not used to kissing in public.

• Not in public. Are you ashamed? You shouldn't be ashamed of love. You should be proud. Take him in your arms, hold him, kiss him, embrace him!"

"Where are you going?

• Flying to the moon." 😂

"The more I'm beaten, the stronger I get."

France's most famous director, Jean Renoir, had to go to America to make his film of French author Octave Mirbeau's novel "The Diary of a Chambermaid". It was adapted for the screen by the actor Burgess Meredith, mainly as a vehicle for his then wife Paulette Goddard who plays the chambermaid Celestine who uses her wiles on the various men in the household where she is employed. It's a lovely performance in a film full of good performances. Others in the cast include Meredith himself, Hurd Hatfield, Reginald Owen and Judith Andereson but it's Francis Lederer as the malevolent manservant Joseph who walks off with the movie.

It's really a film of two halves. The early farcial elements seem overworked, (I know it's a film about eccentrics but such broad strokes hardly suit Renoir). However, the darkness that overwhelms the second half of the picture is magnificently handled by the director and is actually quite shocking. This is a very different film from the one Bunuel made in 1964 and perhaps all the better for it.

As Paulette Goddard plies her "magic," things don't always go as planned. She is a gold digger and doesn't hesitate to settle for less attractive if there is money on the way. What happens is a series of abutments that hold up the process. For me the charm of he movie was the use of some great character actors. A young Burgess Meredith and Irene Ryan. It's one of those films that is ultimately forgettable but has some nice moments.

Chambermaid Paulette Goddard (Celestine) and the feeble, irritating Irene Ryan (Louise) arrive at the stately home in which they are to serve. They first meet the rather unpleasant valet, Frances Lederer (Joseph) before being introduced to Reginald Owen (Captain Lanlaire) and his wife Judith Anderson (Madame Lanlaire), who have an ill son, Hurd Hatfield (George). It becomes clear that it is Goddard's role to make his life better. Can she succeed....?

Paulette Goddard, Frances Lederer and Judith Anderson carry the film in terms of having a good cast but I'm afraid that's it. The film suffers by having too many buffoons - virtually everybody else. While Reginald Owen is OK as a bumbling old man, one is enough for any film. Unfortunately, we are also given Burgess Meredith as an extremely annoying old codger of a neighbour - he must be the most annoying character EVER. He constantly jumps and bounces around just like all old people do - you get my drift? He is so unconvincing that it's embarrassing. He is meant to be a likable, cheeky chappy. He isn't. Frances Lederer has a great moment with him towards the end of the film. Marvelous!

Frances Lederer keeps the tension ticking and is very watchable as the valet with something sinister going on in his head. The plot is good and keeps us watching as to how things will pan out for Goddard. Time to check the silverware.