Most of the reviews seem to consider this movie as a comedy. had it been called RomCom, probably it would have been somewhat OK (married couple can have their romance, without looking outwards) .

While watching it, i found there is a very thin line between comedy and satire, and when I follow the line, it is a satire, not a comedy. The satires usually as too biting, and thereby heavy on the senses. But in this case, the director has skillfully garbed the satire, and the movie is as lighthearted as a comedy, but still it isn't one. And of course, a happy ending is one that I usually prefer, and by that count, this is one of the few (the total count itself is few) of Becker movies, which I would vote for. That is without the technical superiority (movies like Falbalas, Casque d'Or etc were far better character study, but too intense for me).

The story, as mentioned, isn't much, almost non existent. It is the characters that fill the plot, give it the body.

We have a very young couple, poor but talented husband, and the loving but suffering wife, almost like 'Versprich Mir Nichts', though here the wife doesn't take things literally in her hands, and also unlike the Versprich Mir Nichts, there is physical confrontation (usually thorough missiles, sometimes aimed at each other, most of the time at ground),but there is no missing, that along with this fire, the other fire too burns equally bright.

The matter is made more complex through the difference in the strata they belonged to. The wife was from the crème de la crème whereas the husband was bohemian from bourgeois family. Naturally both the sides had declared that the union was doomed to fail.

The different characters that encompass, are the vain and almost narcissist wife's cousin, who still covets her, and is encouraged by the thought of the predicted failure of the marriage, and would work to bring expedited demise. The cousin's father naturally would encourage it, though not too actively, and then his circle of the peacocks. Of these there were was at least one, who had a strong head on his shoulders, probably a natural justice, since his wife was the other end of the spectrum. All other fell between these two. This is the mix of the characters, what made the movie an enjoyable one, and also as it moved quite lightly in the difficult terrain.

This is a wonderful, joyful and smart movie. Very well acted. The chemistry between Edouard and Caroline is astonishing, and she's so pretty and desirable. I was pleasantly surprised with the sexiness of it all : the tension of desire is almost palpable during the whole movie, and not only between the protagonists. To watch this movie was a beautiful experience. Pure cinematic art.

Learning in 2017 that Studiocanal were upgrading their DVD releases of this film makers works to Le Blu-Ray,I hoped to see them bring out a lot of "new" titles from the director,but instead only found one title being added to the re-releases. Recently revisiting a number of his credits, I got set to finally meet Edward and Caroline.

View on the film:

Continuing to explore the fizzy youthful optimism of the post-war period which he had started to examine with Antoine and Antoinette (1947-also reviewed),directing auteur Jacques Becker & cinematographer Robert Lefebvre go behind the closed doors of the young couple, with Becker's distinctive elegant panning shots opening up the cramped room the couple live in, sharply contrasted in the lavish bourgeoisie household where musician Edouard tries to hit the right note, in order to gain a wealthy backer.

In a long term collaboration with the Renoir household, (even appearing in some of Jean's credits) Becker closely works with editor Marguerite Renoir in dancing Edward and Caroline into a sparkling, fast-pace Screwball Comedy atmosphere.

Becker closes in on the sudden violent outbursts of the couple with silky close-ups,and making the lone two locations the movies takes place in (!) look expansive, thanks to Becker's delicate framing which highlights the gap between the artistic couple,and the snooty bourgeoisie being in a world of their own, emphasised by Renoir cutting between the passionate playing of Edouard, with the air of disinterest among the rich, who are too busy mocking the lone American at the dinner party,who is also the lone guest keen on giving Edouard a chance.

Bringing a friction into the marriage that had remained on the exterior as a lottery ticket for Antoinette and Antoine, the screenplay by Annette Wademant and Becker touch on the proto- French New Wave touch Becker had given Rendezvous in July (1949-also reviewed),in the bickering between Caroline and Edouard being given a tart believability,in the stop/start manner the couple argue.

Attending a party with the couple, the writers play a delightfully funny comedy of manners, with the gap developing between Caroline and Edouard being agitated thanks to Caroline's wealthy family looking down at all those who don't fit smoothly into their group.

Reuniting with Becker after Rendezvous, Daniel Gelin gives a immaculate performance as Edouard, who Gelin balances a understated playfulness when round Caroline, with a coiled frustration over being rejected as a artist. Coming from a richer background than her husband,Anne Vernon gives a splendid turn as Caroline, throwing all aside comments with a off the cuff slickness, which Vernon bounces into radiant confidence bringing together with Screwball one-liners the marriage of Edward and Caroline.