“Boul se met au verre is a truly fictional film, in which the theme Vittel and thermal cures assume a secondary role. The film leaves no space for any type of publicity or propaganda in favour of the city: on the contrary, Claude Autant-Lara presents various ironical scenes, with frequent digressions within a linear narrative structure. The film must undoubtedly be placed in a trend which is near to American comedy, represented in France by Pierre Colombier (Mots-croisés, 1926; Dolly, 1928), Donatien (Miss Edith, Duchesse, 1928; L’Arpete, 1929), Augusto Genina (Totte et sa chance, 1928). Sensitive, light, brilliant, Boul se met au verre is finally the first fiction film made by a young director who is voted to a masterly career (Faits-divers had been an attempt made in a completely different style). The sobriety of the ambience and the appreciation of the actors performance alternate with the views of the city, which act as a counterpoint to an original story. There is no reason to hide this piece of work as if it were something to be ashamed of, and luckily the copy did not become lost in time:  the author should not be cross with us”. (Eric Le Roy)