Worthy Companion To More Well Known German Version

During the 30s a significant number of French-German co-productions, more than most people realize, were shot in alternate language versions.In most cases, due to the popularity of German language films in New York City, and to the heavy hand of the Third Reich representatives, it was the German version that got shown in the U.S. but in this instance it was the French copy of Amphitryon that made it here. The wit and charm of the concept (three Greek deities descend from Olympus to interfere in the amorous relations of mortals in ancient Thebes) come through equally well with a different,French speaking cast and with all the German songs and rhyming dialogue rewritten for the other language.But just as the German film of The Three Penny Opera is closer to the source than the simultaneously filmed French one, so here the aspect of pomp and spectacle would have spoken to things in the mind of most German viewers of the time more than it would have to French viewers.Jupiter's descent through the clouds to earth is eerily reminiscent of the way Leni Riefenstahl depicts Hitler arriving in Nuremberg in her documentary Triumph of the Will.The Cecil B De Mille like pageantry of crowds and marching soldiers against massive classical columns anticipates the later Riefenstahl epic Olympia which is deeply suffused with ancient Greek motifs. While talented director Reinhold Schuenzel (here assisted by the equally talented Albert Valentin) plays up a disrespect for the gods and gets away with a certain anti authoritarian theme (he would leave Germany for the US in 1936) the heavy handed way in which some of the spectacle is depicted here seems to work against some of this project. Definitely a curiosity! There were very few films that used Greek mythology so cleverly.The much later Clash of the Titans from 1981 has its moments but comes off in comparison as a blundering special effects extravaganza.

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

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The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

Will Ferrell, Angela Grillo, and Lap-Gei Cheung in Anchorman: The Legend of Ron Burgundy (2004)

The fantasy genre features imaginative and often magical worlds, characters, and events. It explores realms beyond the boundaries of reality, featuring elements such as magic, mythical creatures, supernatural powers, and fantastical settings. These stories can take place in entirely fictional worlds or blend fantastical elements with real-world settings.

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Jupiter descends from Olympus to Greek Thebes, where in disguise he seduces the wife of one of the men who are away at war.

Jeanne Boitel and Henri Garat in Les dieux s'amusent (1935)

L'Alliance Cinématographique Européenne (ACE)

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Henri Garat in Les dieux s'amusent (1935)

Jeanne Boitel, Florelle, and Fred Pasquali in Les dieux s'amusent (1935)

Annie Ann, Evelyne May, and Marcelle Naury in Les dieux s'amusent (1935)

Jeanne Boitel in Les dieux s'amusent (1935)

Les dieux s'amusent

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