Film Review: The Rage of Paris (1938)

Henry Koster’s The Rage of Paris is a sparkling screwball comedy that feels like a hidden gem from Hollywood’s golden era—a film that radiates charm, wit, and a striking modernity far ahead of its time. With an exceptional cast, zippy direction, and moments of comedic brilliance, it’s no wonder this film has found renewed appreciation among classic cinema lovers.

At the heart of this delightful romp is Danielle Darrieux, playing the clever and captivating Nicole de Cortillon, a French model in New York who hatches a scheme to snare a millionaire husband. Darrieux delivers a masterclass in comedic timing and physical comedy, balancing elegance and slapstick with irresistible ease. Whether she’s awkwardly navigating a swanky hotel suite under false pretenses or narrowly escaping a disastrous date, her expressions and body language recall the hilarity and boldness later made iconic by I Love Lucy. In fact, several scenes—from frantic wardrobe changes to desperate cover-ups—feel like blueprints for Lucy Ricardo’s most beloved escapades.

The supporting cast is no less dazzling. Douglas Fairbanks Jr. is the picture of suave sophistication as Jim Trevor, the sharp-witted and skeptical businessman who begins to see through Nicole’s charade. His chemistry with Darrieux is undeniable, their verbal sparring laced with flirtation, frustration, and ultimately affection. Fairbanks Jr. proves he’s not only a dashing romantic lead but a deft comedian himself, playing the straight man to the film’s escalating chaos while adding his own wry charm.

Mischa Auer and Helen Broderick round out the cast with standout comedic performances. Auer’s flair for exaggerated facial expressions and slapstick stumbles adds a layer of visual comedy that pairs perfectly with Broderick’s dry, deadpan line deliveries. Their timing is razor-sharp, keeping the film’s pace buoyant and irresistibly funny.

Director Henry Koster, known for his later work on Harvey and The Bishop’s Wife, brings a light, effervescent touch to every frame. His control of rhythm and pacing allows the comedy to build naturally, never feeling forced or formulaic. Koster gives the actors room to play while keeping the narrative tight and focused—an especially impressive feat given the film’s farcical turns.

Despite being released in 1938, The Rage of Paris has a remarkably fresh feel. Nicole’s independence, wit, and refusal to be underestimated position her as a proto-feminist heroine in a genre often content to reduce women to caricatures. She’s a character you root for not just because of her charm, but because she’s clever and capable—even when her plans go comically awry.

In the pantheon of romantic comedies, The Rage of Paris stands tall as a clever, character-driven delight. It may not be as frequently cited as some of its contemporaries, but its influence can be felt in generations of comedies that followed. If you love Lucy, or just a well-crafted romp of mistaken identities and romantic mischief, this one is a must-see.

Wren Valentino