July 14

1933 [FRENCH]

Comedy / Romance

IMDb Rating 7 10 335

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Uploaded By: FREEMAN
January 19, 2021 at 01:30 AM



720p.BLU 1080p.BLU
850.39 MB
French 2.0
23.976 fps
1 hr 32 min
P/S 0 / 4
1.54 GB
French 2.0
23.976 fps
1 hr 32 min
P/S 3 / 2

Movie Reviews

Reviewed by zetes 10 / 10

Perhaps Rene Clair's most perfect film

Jean and Anna are young and in love. They spend Bastille Day together trying to dance the night away, trying to get in a kiss or two. Things keep getting in the way though, funny things like the rain, the whim of the band that's playing, and the stuffy old woman walking around. Unfortunately, when Jean returns home, his ex-girlfriend is waiting for him on his bed. Misunderstandings ensue, and it's not worth ruining by revealing all the wonderful things that happen through the rest of this film. I love À nous la liberté and Le million a lot, but neither of them reach the emotional peaks of Quatorze Juillet. It's still just as humorous as the other two, perhaps more so, but neither of them moved me like this one. It's not a musical, but it is imbued with very beautiful music. It's a magical film, one of the best ever made. Annabella, who also starred in Le million, is back as Anna in this one. 10/10.

Reviewed by mmtoucan 4 / 10

Roger Ebert's "idiot plot" epitomized

Ebert characterized films with "idiot plots" as those "containing problems that would be solved instantly if all the characters were not idiots." Clair seems to love the Parisian types he depicts, though they are barely functional and knee-jerk belligerent. There's never an attempt at resolving a misunderstanding or solving a problem - well, perhaps sometimes, but only as a last resort. And yet Parisian life and love perseveres, and this is Clair's big statement. One that I found aggravating, as the film is overloaded with loud, stupid noise and senseless arguing. Ha Ha. Meanwhile, the thin thread of a romantic plot is overwhelmed by Clair's exaggerated focus on Parisian cultural dysfunction leaving me annoyed and dissatisfied. Clair's drunken millionaire is clearly borrowed from Chaplin's City Lights (1931), and this was made before Modern Times (1936), often cited as being Clair-inspired. Coincidentally, Paul Ollivier, with white hair and a black mustache is the spitting image of Chaplin's stage character in Limelight (1952).

Reviewed by robert-temple-1 9 / 10

A delightful confection of old Paris

This is what they used to do every year in Paris, to celebrate their National Day (Bastille Day), the 14th of July. In thousands of streets all over the city, lights would be strung up, bunting would appear, French flags however small would protrude from windows. And for the nights of the 13th, 14th, and 15th, they would dance to small bands in the streets all night long, sometimes drinking continuously and not sleeping at all for the whole of that time. One reads about it in the books and memoirs of the period. Not that I ever saw it myself, of course, nor is there I suppose anyone alive today who can say he or she really did it. It was one of the many aspects of Paris life which died with the Nazi invasion in 1940 and never came back. But here it is, in all its glory, a whole film of it, directed by the inimitable René Clair. There are several laugh out loud moments in this film, and many tragic ones as well. Clair portrays a tapestry of life as it was lived in the streets at that time, with the naughty urchins laughing and running about with no traffic to deter them, the flower girls, the arguing taxi drivers, the snobs, the poe-faced matrons, the wicked concierges, the cleaners, the café owners, the bar girls, and the Apaches who are stealing wallets and getting up to no good. People laugh, people cry, hearts are broken, and then mended again. The beautiful Annabelle plays the character Anna with great charm. She starred in so many notable films, not least the great classic HOTEL DU NORD (1938, see my review). As is usually the case, Clair over-does the music on the sound track, like someone putting far too much icing on a cake which is already sweet enough. But then, who can complain of such a small fault when this is a film so delightful, amusing and full of life and charm? And by watching it we can see the lost pleasures and pain of the celebrating Paris crowds of yesteryear dancing the nights away in their annual Gallic carnival atmosphere of gaiety and innocent abandon, an era of simple pleasures which shall never come again.

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