Those who wish to watch a good early 60s historical entertainment can look for ‘Madame Sans Gêne‘, the 1961 film by Christian-Jaque. The historical character of the laundress in revolutionary Paris who married one of Captain Bonaparte’s sergeants and became a duchess at the court of the Empire was popularized by a play that had already been brought to screen in two famous adaptations, one from the silent film era with Gloria Swanson in the title role, the other starring the sparkling and very popular French cabaret and screen star of the 30s and 40s, Arletty. Why another adaptaation? At least two reasons, I think: the advances in color film that made this version of ‘Madame Sans Gêne‘ visually look like a historical blockbuster, and the presence in the title role of the incomparable Sophia Loren.
Catherine Hubscher (real historical character) began by washing Captain Bonaparte’s underpants in the days when his regiment was making the final assault that would bring down royalty. She falls in love with Sergeant Lefebvre whom she follows, mostly out of jealousy, in the campaigns of Bonaparte, who had become a general. An incident that happens only in the movies (or, if you wish, in theatre plays) makes of the two a little imprudent and a little indifferent to the rules of military discipline lovers the heroes who decide a battle with the Austrians. In a decade we will meet them (raised to the ranks of duke and duchess in the new European order) at the imperial court. Napoleon, now emperor, decides to make Lefebvre king, but the duchess’s foul mouth and rough manners will jeopardize the emperor’s plans and the two’s careers.
Christian-Jaque already had the experience with successful historical cape and sword films, but also with romantic comedies. The two genres meet successfully, being grafted onto the text adapted from the French classic. The reconstruction of the period is done with cinematic tools from the arsenal of historical super-productions of the time, without any savings in period costumes (from uniforms to court ladies’ dresses) or in the number of extras. The dialogues are partly taken from the play and the characters and language humor works unexpectedly well on screen. Sophia Loren shines, with silhouette-flattering gowns and a comical temper that seems hard to contain. It is not easy to be Sophia Loren‘s partner, but Lefebvre is excellently played by Robert Hossein, who was otherwise a complex filmmaker, actor and director, today a little unfairly forgotten. I also liked Julien Bertheau who plays Napoleon, an actor I know less of, who shows real comedic qualities. ‘Madame Sans Gêne‘ is an entertainment of the 60s that after another 60 years still has the quality to captivate and entertain audiences.
