在舊照片中追憶逝水年華，過往愛過的、恨過的、快樂的、哀傷的，全都以紛亂的次序展現眼前。這是影片呈現現代主義作家普魯斯特臨終前的片段。回憶令生命變得立體、令人細味所失去的，導演選擇不以時序重現過往，正好與普魯斯特的寫作風格一脈相承。

The film opens with French novelist Marcel Proust on his deathbed, looking at photographs that bring back memories of his childhood, his youth, his lovers, and the way the Great War put an end to a stratum of society. His memories are in no particular order, they move back and forth in time. Memory makes us human, but to remember the past is to experience its loss. In refusing a relentless movement towards the end, it captures the Proustian notion that the process of remembering is a necessary struggle with death.

香港有飛哥跌落坑渠，巴黎有流浪漢跳落塞納河！被善良的書店老闆救起兼收留，不過低下層和中產階級的分野始終引起不少衝突，結果是一籮籮的撞板笑話。欣賞本片除了看Michel Simon的爆笑表演、導演雷諾亞對社會中產化的尖銳譏諷外，還附上巴黎的好風光。

Boudu, a tramp who jumped into the Seine, is rescued and sheltered by bourgeois bookseller Mr Lestingois. Boudu’s anarchic havoc, contrasted with the affable absurdity of Lestingois, leads to a great deal of farcical, slapstick humour. Among Renoir's finest films, this sharp-eyed take on the paradox of bourgeois liberalism includes stunning photography of Paris in the 1930s and a legendary comic performance by Michel Simon.