The key to fully enjoying this film is to forget for a few minutes that it's a vehicle for Josephine Baker, and view it as a French version of a screwball comedy. Apart from the grafted-on Pygmalion theme, the script is really about war between husband and wife.
From that perspective it's really as good as than many similar films produced by Hollywood during the same era. The viewer can then have fun comparing the Gallic take on the theme with the American and English approaches.
The production dance number is clearly an imitation of Busby Berkeley, and nowhere near as lavish. But enjoyable enough in its own rights. Again, the fun is in comparing the French choreographer's way of doing things with Berkeley. And ... think about it for a minute ... did French chorus lines at that (or any) time really have tap dancing?
Then go back to thinking about Josephine Baker. It's a shame she didn't get to dance more, but the dance to Sous Le Ciel and the Samba in the final number were quite good.
From that perspective it's really as good as than many similar films produced by Hollywood during the same era. The viewer can then have fun comparing the Gallic take on the theme with the American and English approaches.
The production dance number is clearly an imitation of Busby Berkeley, and nowhere near as lavish. But enjoyable enough in its own rights. Again, the fun is in comparing the French choreographer's way of doing things with Berkeley. And ... think about it for a minute ... did French chorus lines at that (or any) time really have tap dancing?
Then go back to thinking about Josephine Baker. It's a shame she didn't get to dance more, but the dance to Sous Le Ciel and the Samba in the final number were quite good.