In 1887, the stranglehold the aristocracy held over the other classes is weakening. The Countess de Bonafé can no longer whip her servants, she can only brandish her cane at them. But the working class has not yet gained its full power; Fabien and Irène have to tread very carefully lest their affair should be discovered.
There are two love triangles here: Engelbert-Irène-Fabien, which is very unstable, owing to Fabien being a coward and thief, and Irène not being able to solidify her hold on Engelbert, and the far more stable one of the Countess-Douce-Engelbert, three people of the same family and class who can unite when it becomes necessary to do so. Autant-Lara shows a solid hand as director; the low camera angles may distract some viewers, but the decors are excellent.