To say that novelist Colette had a colourful life would be an understatement and no one was better qualified to depict the Game of Love than she. Tragically bed-ridden with arthritis during the German Occupation and with her Jewish husband interned, she transported herself and her readers with this novella to Belle Epoque Paris, an era of which she had first-hand experience, not least regarding the demi-monde.
'Les Grandes Horizontales' as the courtesans of the time were quaintly known, were very much a feature of that world and historically of course the Courtesan has been considered a cut above your average common-or-garden *****(I am obliged to use asterisks so as to conform to IMDb's politically correct guidelines)
In Colette's novella we have fifteen-going-on-sixteen Gigi who is being progressively groomed by her grandmother and great-Aunt, two retired courtesans, to carry on the family tradition of 'pleasing' men. Despite its inherent seediness the novella has been brought to the screen with charm and flair by the sorely underrated Jacqueline Audry with screenplay by her husband Pierre Laroche. Although not universally acknowledged it is generally accepted that Colette contributed to the dialogue and there is little doubt that she welcomed the chance of collaborating with the sole female director of film in France at that time.
This is the first of three adaptations of Colette's works to be filmed by Audry, each of which starred the delectable Daniele Delorme during her 'gamine' period and here she positively shines in the title role. Some have opined that this is her finest role but for this viewer at any rate that distinction must surely belong to her femme fatale in 'Voici le temps des assassins'.
Her fellow players are out of the top drawer with Jean Tissier as loveable old roué Honoré, Frank Villard, who was to be so effective in Audry's later 'Huis Clos', as bored sugar tycoon Gaston, Gaby Morlay as the morally ambiguous Aunt Alicia whilst Cocteau favourite and inveterate scene stealer Yvonne de Bray is magnificent as Mamita.
In Colette's writing the line between the fictional and the autobiographical is often blurred and although the ending of Gigi is ostensibly a happy one with Gigi set to become wife and not mistress, one cannot help but wonder what the future holds for this delightful creature.
Colette passed away before the entertaining and glamorous if somewhat sanitised musical version came out but it is as pointless to compare the two as it is to compare 'Pygmalion' with 'My Fair Lady', 'Liliom' with 'Carousel' or 'Nights of Cabiria' with 'Sweet Charity'.
Arguably not her greatest work, 'Gigi' has certainly struck a chord, proof of which is its enduring popularity and, unsurprisingly, Audry's film was a great success. Although regarded highly by feminist academics, she is a director deserving of and long overdue for reappraisal.
'Les Grandes Horizontales' as the courtesans of the time were quaintly known, were very much a feature of that world and historically of course the Courtesan has been considered a cut above your average common-or-garden *****(I am obliged to use asterisks so as to conform to IMDb's politically correct guidelines)
In Colette's novella we have fifteen-going-on-sixteen Gigi who is being progressively groomed by her grandmother and great-Aunt, two retired courtesans, to carry on the family tradition of 'pleasing' men. Despite its inherent seediness the novella has been brought to the screen with charm and flair by the sorely underrated Jacqueline Audry with screenplay by her husband Pierre Laroche. Although not universally acknowledged it is generally accepted that Colette contributed to the dialogue and there is little doubt that she welcomed the chance of collaborating with the sole female director of film in France at that time.
This is the first of three adaptations of Colette's works to be filmed by Audry, each of which starred the delectable Daniele Delorme during her 'gamine' period and here she positively shines in the title role. Some have opined that this is her finest role but for this viewer at any rate that distinction must surely belong to her femme fatale in 'Voici le temps des assassins'.
Her fellow players are out of the top drawer with Jean Tissier as loveable old roué Honoré, Frank Villard, who was to be so effective in Audry's later 'Huis Clos', as bored sugar tycoon Gaston, Gaby Morlay as the morally ambiguous Aunt Alicia whilst Cocteau favourite and inveterate scene stealer Yvonne de Bray is magnificent as Mamita.
In Colette's writing the line between the fictional and the autobiographical is often blurred and although the ending of Gigi is ostensibly a happy one with Gigi set to become wife and not mistress, one cannot help but wonder what the future holds for this delightful creature.
Colette passed away before the entertaining and glamorous if somewhat sanitised musical version came out but it is as pointless to compare the two as it is to compare 'Pygmalion' with 'My Fair Lady', 'Liliom' with 'Carousel' or 'Nights of Cabiria' with 'Sweet Charity'.
Arguably not her greatest work, 'Gigi' has certainly struck a chord, proof of which is its enduring popularity and, unsurprisingly, Audry's film was a great success. Although regarded highly by feminist academics, she is a director deserving of and long overdue for reappraisal.