Faisons un rêve...

Today few observers would qualify as “uncinematic” what was, at the time of release, Guitry’s most notorious transgression: the 17-minute scene, covered in no more than a dozen shots, in “Faisons un Rêve” (1936) in which Guitry, round and owlish in his horn-rimmed glasses, alone on the set and speaking sometimes to himself, sometimes into a telephone receiver and sometimes directly to the audience, imagines the progress his lover (the ravishing Ms. Delubac) is making on her way across Paris, living out all the joy and anxiety the occasion demands. It made for brilliant theater, no doubt, but it becomes great filmmaking, as Guitry’s precisely modulated voice and cascading gestures make every moment of the journey perfectly visible in the spectator’s mind. —NYTimes.com

For a playwright and a verbose one at that Guitry knew how to make the camera move fluidly as in this case when it pans rather than cuts around a salon swooping on groups of two or three before moving on. Nor has he lost his knack of arresting openings witness the Gypsy sextet who open proceedings with a short medley before the Opening Credits, one of them playing what appears to be a form of zither. As he often did Guitry casts his wife of the time, Jacqueline Delubac, as his leading lady, marries her off to Raimu,casts himself as the lover and lest we forget he is a man of words as well as images he proceeds to divide the film into duologues perming any two from three and even throws in a tour de force monologue for himself, For talent spotters in the salles he supplies cameos for Arletty, Michel Simon and Claude Dauphin and the finished product is everything you expect from this Renaissance man. —IMDb