Claudette Colbert arrives by train in Paris at midnight, wearing full evening dress, with nothing but five centimes and a pawn ticket in her purse. By a series of misadventures her character ‘crashes’ an evening musicale hosted by Hedda Hopper. The grand salon is decorated in the quintessence of 1930s style, with huge, philodendron monstera plants silhouetted against the walls. Later she goes to play high-stakes bridge (with Mary Astor and Lionel Barrymore) in a card room that is pure John Michel Frank, with walls draped in staff and chairs covered in mouton. There is another visually marvelous scene in a country house outside of Paris where the Hedda Hopper character (obviously inspired by Elsie de Wolfe) gets everyone to do ‘la conga’ and the orchestra is backed by a whopping 12-fold 17th century Chinese Coromandl screen. The film is like the pages of ELSIE DE WOLF’S PARIS come to life, and the women all look as though they have stepped out of the pages of a 1939 VOGUE, intoxicated-looking little evening hats and all. The film is truly a visual feast, and every time I watch it I am transported! .