Synopsis
Philippe Clarence, a famous Parisian dressmaker, seduces his friend's fiancee. But, for the first time in his life, this is for real. The film is also a sharp picture of the fashion world.
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Paris Frills
Cast
Raymond Rouleau Micheline Presle Jean Chevrier Gabrielle Dorziat Françoise Lugagne Jeanne Fusier-Gir Christiane Barry Rosine Luguet Yolande Bloin Eveline Volney Maria Carld François Joux Georges Roull Marc Doelnitz Nicolas Amato Paul Barge Françoise Barles Jacques Beauvais Georges Bréhat Jacqueline Carlier Jacqueline Chanal Célia Cortez Marguerite de Morlaye Paul Delauzac Hélène Duc Charlotte Ecard Pierre Ferval Rolande Forest Madhyanah Foy Show All…
Director
Producer
Writers
Editor
Cinematography
Art Direction
Composer
Costume Design
Makeup
Studio
Country
Language
Alternative Titles
Falbalas - Sein letztes Modell, 파리의 장식, 装饰, Дамские тряпки, 偽れる装い, En gata i Paris
Releases by Date
Premiere
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Greece
Festival du Film Francophone
Theatrical limited
20 Oct 2021
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France
Theatrical
20 Jun 1945
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France
16 Nov 1945
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Belgium
01 Jan 1946
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Austria12
15 Mar 1946
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Finland
01 Apr 1946
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Sweden
24 Nov 1946
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USA
21 Mar 1947
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Portugal
14 Feb 1949
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Japan
18 Feb 1949
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Mexico
Digital
24 Aug 2011
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France
Physical
07 Nov 2001
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France
20 Oct 2021
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France
21 Oct 2021
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Germany12
Releases by Country
Austria
01 Jan 1946
- Theatrical12
Belgium
16 Nov 1945
- Theatrical
Finland
15 Mar 1946
- Theatrical
France
20 Jun 1945
- Theatrical
07 Nov 2001
- Physical DVD
24 Aug 2011
- Digital VOD
20 Oct 2021
- Theatrical limited Re-release
20 Oct 2021
- Physical Blu-Ray
Germany
21 Oct 2021
- Physical12 Blu-ray & DVD
Greece
18 Apr 2010
- Premiere Festival du Film Francophone
Japan
14 Feb 1949
- Theatrical
Mexico
18 Feb 1949
- Theatrical
Portugal
21 Mar 1947
- Theatrical
Sweden
01 Apr 1946
- Theatrical
USA
24 Nov 1946
- Theatrical
Popular reviews
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This builds to a wondrous, delirious climax, but I don’t think the romance is fleshed out enough for the ending to quite land. Still, there’s parts of this I absolutely love, like the looming presence of a mannequin (or even its shadow!) in many of the frames, and a hilarious, inexplicable scene involving a ping-pong tournament.
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an early becker effort set in the world of haute couture. raymond rouleau stars as a womanizing diva designer who employs an army of seamstresses to produce his creations, each season inspired by a new muse. his latest discovery is betrothed to a dear friend, a girl who's too naive to see his seductions shouldn't be taken seriously. that is, until she's no longer available to him, when he suddenly decides to chuck everything and run away with her, not caring who may be hurt in the process. while i don't totally buy the ending, raymond rouleau is terrific here, becker has a deft hand with the witty dialogues and frantic pace and a great eye for interesting character traits. he still hasn't let me down. plus the wonderful paris 40s fashions esp amazing hats!!
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62/100
Least favourite Becker. Some really great moments, some beautiful close-ups too but little messy overall and the relationship/romance wasn't explored properly to fully believe that ending which btw was wonderfully tragic but just comes across as tad forced.Also PTA needs to explain himself for stealing ideas for Phantom Thread and never acknowledging the influence.
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Em honra dos 100 anos completados hoje por Micheline Presle.
Juro que não sabia da influência num dos meus filmes favoritos da última década, escolhi Falbalas para o centenário de Presle por ter sido dirigido pelo grande Jacques Becker e encontrei o pai espiritual de Phantom Thread.
Acho que a elegância absoluta de Becker pode ser exemplificada na cena em que o protagonista desce de elevador e a filmagem ocorre no teto do lado de fora, isso é um pico da linguagem, tendo o amigo cuja voz ecoa na descida Inconsciente que logo se encontrará com a mulher que tudo transicionará. E isso é apenas um exemplo dos inúmeros momentos de maestria semiótica da linguagem cinematografica perpetrados por Becker.
BlurayRip VXT. -
Fundamentally, does this need anything more than gorgeous '40s French fashion, delivered at a steady drip? No, but it would maybe have been nice to have gotten it anyway. The story is pretty wild and well-acted, but the film seems to have conflated "horny middle-aged jackass in lust" with "tragic romantic anti-hero", and it never comes close to landing emotionally the way it would have to in order to earn its ending, or everything else about its final act.
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Fascinating recreation of life and work within a fashion house acts as the backdrop to a character study of the wild, narcissistic genius at the centre of it — the fashion designer — and the tragedy which plays out both due his wilful lack of empathy and, ironically, in the one time he lets his feelings get in the way of his work. It is a richly observant film, with understated yet virtuoso direction worthy of Jean Renoir, Jacques Becker’s colleague and close friend — they worked on many films together. Sequences such as Raymond Rouleau and Micheline Presle’s meet-cute on an elevator; Micheline’s emotional crackup during a family table tennis tournament; and Clarence’s (Rouleau) deadly mental breakdown — along…
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I am surprised to read reviews that point out the romance or that it is not fleshed out like it is something important, when the film begins and ends with the image of a mannequin, the most conventionally idealized and objectified image.
This is man who has always had women around him, who suffer and give their lives for him, and he doesnt care about them not one bit. In fact the tragedy begins to unfold once he is being ignored and then monumentally rejected. -
A jerk surrounded by dolls ends up letting his pride dress his latest favorite a bit too close to reality. Becker moves the film from a light comedy of the haut couture universe in Paris to an ironic tragedy with remarkable ease.
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Jacques Becker's wonderfully detailed third film - completed around the time of France's Liberation from the Germans at the end of World War II - offers a glimpse into the world of Parisian 'haute couture' in which a haughty designer (Raymond Rouleau) seduces the fiancée (Micheline Presle) of a friend (Jean Chevrier) and then, in his infinite wisdom, decides to tell her that she is merely the latest in a long line of conquests; but since she continues to visit his fashion house to be fitted for a wedding dress, the matter is not so simply resolved. Becker presents his film with a glittering surface but there isn't much depth to the piece. However, a fevered climax - when madness descends - is particularly impressive.
Online Access: ok.ru/video/3647131355648
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Romantic drama that basically boils down to "men are a mistake".
It's fine, but director Jacques Becker would go on to much more interesting films later in his career.
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Much better than The Phantom Thread, this tale of a man who economically, sexually, and creatively exploits women due to his over-identification with the feminine is fascinating (and looks forward to Vertigo in some ways). Becker never fails to be interesting on gender.