
The Art of Getting Along
1954

1936
ApprovedDirector
Pierre Colombier
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
King John IV of Cerdania, who knows monarchs are a vanishing race but who plays his royalty role in state council or boudoir to the hilt, is in Paris to sign a treaty, and becomes enmeshed in intrigue with an actress, Therese Mannix and involved in a bit of cuckoldry with YouYou Bourdier, the ex-seamstress wife of a French senator, who is un-awed by money, power or the King's kisses. For his part, her husband, Senator Bourdier, is glad to use his wealth, wife and collectivist ideals for social position, in spite of his democratic posing.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks any visible LGBTQ+ characters or non-heteronormative identities. The plot centers on conventional romantic entanglements between the King, an actress, and a senator's wife.
Gender Representation
YouYou Bourdier subverts traditional female archetypes by remaining unimpressed by royal power and wealth. The King's authority is also presented as a performative role rather than inherent masculine dominance.
Racial & Ethnic Diversity
The production is Eurocentric, focusing on French and Cerdanian political spheres. It reflects the homogeneous casting standards typical of 1930s European cinema.
Religious & Cultural Diversity
The narrative critiques the sanctity of monarchy by portraying the King as a performer. It also explores the tension between democratic ideals and personal social advancement.
Disability Representation
There is no information available regarding the depiction of physical or neurodivergent disabilities in this film.
Strengths
Areas for Improvement
AI Analysis
The film functions as a period study of class friction and the deconstruction of authority. It moves beyond simple comedy to examine the performative nature of political and social status. While the film offers a nuanced look at gendered power through YouYou Bourdier, it remains limited by the era's lack of intersectional breadth. The narrative is largely confined to Eurocentric social structures. Ultimately, the work succeeds in challenging the stability of traditional institutions like the monarchy, even if it fails to represent a diverse range of identities.

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