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This delicious movie succeeds because of the talents of all who contributed to it, but mostly because of the fresh, light performance of Daniele Delorme in a role that should have been so much less. The young girl's mother and aunt expend extraordinary efforts to develop her into a high class mistress (without letting her in on the plan). This sordid concept is handled with a sure, light touch, succeeding because of the direction, writing and performances, especially that of Delorme, who is sweet but not too sweet, innocent but not too innocent, and above all bright, new and unaffected. Conventionally made, but surefooted, deft and captivating. (Not a musical, and not to be confused with the soon slick Hollywood version.)The TCM print (the same shown theatrically in newest years) has the old-fashioned subtitles that fade away fully when the stage has a white background. If you don't know French you may search it too frustrating to be worth watching.
Gigi (1949) is a realistic portrayal of the demimonde in 1890s Paris, and the training of a courtesan. The movie is generally serious, although there is some humor. It shows interesting territories in old Paris, including a restaurant inside the Eiffel Tower. Gigi is a 15 year old woman who lives with her grandmother Mamita, and is educated by her aunt Alicia. Gaston is a wealthy mate of the family. Mamita and Alicia were courtesans, and they are educating Gigi about the complex globe of the courtesan. Aunt Alicia is still glamorous at age 67. She has curly blonde hair, and wears fancy long black gowns with puffy sleeves and faux roses. She lives in a ellegant Art Nouveau apartment building. There is an amusing stage where Aunt Alicia teaches Gigi to identify different jewels. Gaston is in a relationship with the courtesan Liane. However, Liane is infatuated with Sandomir, an ice skating instructor. Gaston learns that Liane and Sandomir will have a romantic tryst at a country inn. Gaston and Honore disguise themselves in fur coats and goggles, and drive to the inn. Gaston sees his courtesan girlfriend with Sandomir, and breaks off his relationship with Liane. Liane attempts suicide. The rest of the movie is about Gigi and Gaston. Gigi is actually 16. Aunt Alicia continues to educate her in feminine wiles to attract a man, which contain how to eat lobster, and choose a cigar. She also mentions that courtesans are dramatic. They create scenes, break china, and then reconcile in public. Gigi, however, resists the lessons of courtesan allure. She has an independent spirit and believes in real love. Gaston is a playboy, and does not wish to settle down. Gigi does not wish a temporary relationship as his courtesan. She wants lasting love and marriage. The movie shows different historic territories in Paris. (Some of the scenes appear to be of the current locations, others are studio recreations. Either way, the scenes have an authentic look.) There is an elevator built on the outside of the Eiffel Tower, which takes customers to a restaurant inside. Couples skate at the Palais des Glaces, a historic ice skating rink.The exterior of Aunt Alicia's Art Nouveau apartment building is shown, with ironwork tendrils decorating the doorways and windows. The sets and costumes also present period detail. Gaston drives a very early automobile, which looks like an 1890s Peugeot. The apartment interiors have plush furniture, oriental rugs, and elaborate wallpaper. Liane wears a skating costume and hat trimmed with fur.Although the storyline is politically incorrect, this movie could not be disregarded. It realistically shows the demimonde and the plight of the courtesan. The Parisian territories are historic, the sets and costumes have authentic period detail, and the acting is natural. The quality of the only surviving print of "Gigi" (1949) is not good. This rare movie could be restored.
Colette's rather original tale of the education of a teen age woman to become a courtesan or mistress of a rich patron by her grandmother and nice aunt, thus carrying out a family tradition, is starkly said with a noticeable lack of emotion. This was likely the director's intention to lend an air of sincerity to what some might consider a frivolous or scandalous story. The cast is quite personable, especially Danielle Delorme in the role of Gigi. This appears to have been her first movie in a rather successful career in Europe. For all the sumptuousness of the 1959 musical version, which seemed to me to have an air of "smirking" throughout, I prefer this one.
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