This might be the least seen of the three titles; I'd heard of the English version Paris Does Strange Things only as a book entry. What seems an unlikely Ingrid Berman vehicle is a charming social farce with high-end verbal wit and plenty of mid-range slapstick. Bergman is the romantic center of a larger comedy about political shenanigans to convince a popular general to seize the government, like a latter-day Napoleon. It's loosely based on French politics of the 1880s but seems to be set (judging by the automobile on view) sometime between 1905 and 1914.

Flighty Polish princess Bergman sees nothing wrong with humoring a rich leather magnate, so as to give her impoverished family some cash during a bad financial crunch; the handlers of the general, an honest patriot (played fairly well by the handsome Marais of Beauty and the Beast) think Bergman can inspire him to overthrow the government. It's all handled as a series of romantic triangles - Bergman baits the leather millionaire, falls in love with Mel Ferrer's idle count and also holds a great affection for the general, enough to make her question her motives. Meanwhile, the general has a jealous girlfriend (Elina Labourdette of Les dames de Bois du Bologne and Lola).

Naturally, there's a second-tier farce playing under the main event. Bergman's maid Lolotte (Magali Noël of Rififi) strings along the general's valet, while making the leather heir stray from his arranged-marriage fianceé. Coming into play in the third act are some gypsies headed by the sultry Juliette Greco, soon to be a Darryl Zanuck starlet (The Roots of Heaven).

The wicked politics are presented with a knowing sophistication. War between France and Germany is threatened and the government might become a dictatorship, but the general's handlers are only concerned about their personal futures. For his cooperation in the conspiracy, the Leather King demands import tariffs on leather, and then reverses himself when he makes a joint business deal with an Austrian firm. He's already arranged his son's marriage to the daughter of a rubber baron and his best friends have cheese and wine sown up. The future of France is being determined by selfish bozos.

Bergman's role on paper almost seems to be an Evita Perón type, "inspiring" a military leader to assume leadership. But the film never sees it that way because the general in question has no ambition to be a dictator. The various machinations of the plot are always diverting, mainly because of sly details. The handlers wonder why news of their plans repeatedly reaches the general's consort, when they keep it all so secret. Then one of them finally admits he's confiding in his mistress, which in this society is like telling a gossip columnist. It's a throwaway joke like the street singer that advances the plot or the passersby who keep remarking how things were better when Napoleon III was in charge.

Swede Ingrid is fine in French and plays a more subdued character than usual - the long, trembling closeups that made her a romantic favorite (until Joan of Arc) are mostly held in check. Mel Ferrer is far livelier than he is in his American films. Deep in the cast are future faces Jean-Claude Brialy, and Francine Bergé of George Franju's Judex.

Producer Kate Elmore has assembled a short list of solid extras for the discs. (see full list below) Each separate title comes with introductions from the director, with Martin Scorsese and Peter Bogdanovich helping out. An interview-driven docu called Jean Renoir parle de son art is serialized across the three discs, with a separate docu called Hollywood and Beyond for the last feature. The liner essays are all up to the label's standard, and the packaging and menu design is an extension of the harlequin visual scheme from The Golden Coach.

On a scale of Excellent, Good, Fair, and Poor, The Golden Coach rates:
Movie: Very Good
Video: Very Good
Sound: Excellent
Supplements: intro by Jean Renoir, intro by Martin Scorsese, docu Jean Renoir parle d son art part one, stills, essays by Jonathan Rosenbaum (on all three films) and by Andrew Sarris

On a scale of Excellent, Good, Fair, and Poor, French Cancan rates:
Movie: Excellent
Video: Excellent
Sound: Excellent
Supplements: intro by Peter Bogdanovich, docu Jean Renoir parle d son art part two, interview with designer Max Douy, stills, essay by Andrew Sarris

On a scale of Excellent, Good, Fair, and Poor, Elena and Her Men rates:
Movie: Excellent
Video: Excellent
Sound: Excellent
Supplements: Intro by Jean Renoir, Docu Hollywood and Beyond, docu Jean Renoir parle d son art part three, stills, essay by Christopher Faulkner

Packaging: 3 Keep cases in card box
Reviewed: July 22, 2004