Mademoiselle from Armentieres

BFI Most Wanted: the hunt for Britain's missing films

Directed by Maurice Elvey, 1926

Based on a popular trench song of the First World War, the film tells the story of a patriotic French woman who falls in love with a British soldier and feeds misinformation to the Germans.

Mademoiselle (Estelle Brody) on the front line

Credits

Director Story Scenario Photography	Maurice Elvey Victor Saville Gareth Gundry William Shenton
Cast: Estelle Brody (Mademoiselle); Marie Ault (Her Aunt); John Stuart (John); Clifford Heatherley (German Intelligence Officer); Alf Goddard (Fred); Gabriel Rosca (Branz); Boris Ranevsky (Liaison Office).
7,900 ft, silent, black & white

Why are we so keen to find it?

The film was directed by Maurice Elvey, a popular and very prolific director in the silent era. It was the first of several films he made in collaboration with the producer/director Victor Saville, and was purportedly the most successful British film of 1926. It stars the Canadian actress Estelle Brody, who turned in an excellent performance for Elvey in Hindle Wakes the following year.

What's it about?

This synopsis is taken from the Bioscope review, 16 September 1926:

Mademoiselle, the niece of a French woman who keeps an estaminet on the outskirts of Armentieres, is approached by the French liaison officer to find out something of the private business of a certain M. Branz. She soon learns enough to realise that Branz is a German spy and devotes her time to gaining his confidence. By fulfilling what she believes to be her patriotic duty she brings about a misunderstanding with the young English solider, who while billeted in the town, has fallen deeply in love with her. It is impossible for Mademoiselle to explain matters to Johnny before he is suddenly called away to the fighting line. Soon after the regiment has left, her duty done, she determines to follow Johnny and explain all to him. By determination and, it must be admitted, fortuitous circumstances which might be ascribed to dramatic license, Mademoiselle reaches the regiment in a captured German trench and in which Johnny has been wounded. The trenches are recaptured by the Germans. Branz reappears and Mademoiselle again uses her wits in the service of the side to which her lover belongs. Things look bad for Johnny and Mademoiselle when, by a counter-attack, the trenches are recaptured, Branz is killed, and Johnny and Mademoiselle, though buried by a cave-in, struggle their way out to life and happiness.

Last seen?

The film was premiered in September 1926. It played at the Stoll Picture Theatre, London, in February 1927.

What else do we know about it?

The Bioscope review gives details about the film's opening:

The story by Victor Saville is effectively introduced by a scene outside Buckingham Palace, where a small boy, like Christopher Robin, goes down with his father to see the changing of the guard. The band breaks into a soldier's quick march, and in response to his son's question as to what the tune means, his father tells him the story of the film.

Because the film was based on a popular war-time song, the Bioscope's reviewer felt it offered good "opportunities for musical effects", provided by cinemas' in-house musicians.

Does anything survive?

Fragments totalling 2850ft (less than half of the film) are preserved in the BFI National Archive. In addition the BFI holds stills and a pressbook for the film.

Reviews

A "convincing and realistic depiction of trench warfare," wrote The Bioscope. It praised the actors' performances, feeling that "Estelle Brody is attractive and Mademoiselle, particularly in the lighter scenes, and John Stuart is ingenious and sincere as Johnny... Humberston Wright as an old soldier, Alf Goddard as John's pal Fred, Gabriel Rosca, Albert Raynor and Marie Ault give great assistance in a performance of very even quality."

Kinematograph Weekly noted the film's "close resemblance to the 'Big Parade' in effect", but felt that Mademoiselle was "melodramatic in story rather than a diatribe against the horror and futility of war." The reviewer enjoyed the film's comedy scenes, while feeling that the plot was in places "rather foolish".

For the Stoll Herald, Mademoiselle was "thoroughly British in sentiment, and athrob with [a] vital spirit of humanity."

Nathalie Morris, Curator (Special Collections), BFI National Archive

Read about some of Maurice Elvey's surviving films, including video clips for users in UK schools, colleges, universities and public libraries, at BFI Screenonline.